Zitta by Fabio Pisano, with Leda Kreider
Podcast on Spreaker from Saturday 12nd June 2021

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Z, the last letter. I chose the word Zitta (Shut up, Silent), because Z is a tricky, yet wonderful, fascinating letter. The last one.
Last, like Lisa Montgomery seemed to be, a crazed assassin but first and foremost a little girl tortured by her mother and stepfather who stifled her light, probably teaching her that life contains nothing but evil. Lisa committed a terrible murder, Lisa had always been forced into silence, suffering rape, violence and harassment of all kinds in a trailer that it is hard to imagine could contain so much suffering. Lisa was condemned to death via a letter sent to her by the Department of Justice of the State of Indiana, USA. In that letter, Lisa was defined as “dear”, and the message ended with “sincerely”, the only two words of affection that she had ever heard or read.
The team of psychologists who handled the case had repeatedly called for the pardoning of a woman defined as “the most broken in the world”, but President Trump did not accept the requests.
On the day of her lethal injection, her executioner asked Lisa if she had anything to say before dying, but Lisa, who was used to silence, to shutting up, simply answered no. (Fabio Pisano)

Synopsis
Zitta tells the story of Lisa Montgomery, a crazed assassin and a broken woman, a woman condemned to death by her State, Indiana, but who had previously been sentenced to life by her mother and stepfather, with no chance of pardon. None whatsoever.

Biography

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Y.E.T.I. by Niccolò Matcovich, with Alfonso De Vreese, Anna Godina, Marco Mavaracchio
Podcast on Spreaker from Friday 11st June 2021

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When the letters were drawn, I hoped I would be assigned a strange one, a difficult, problematic and limiting letter. This is probably because when I write “to order”, the more restrictions there are, the freer I feel within the thought structure. Y leaves little room for imagination. After a wander among the Yachts of the Yakuza, who reputedly spend time on YouPorn while eating Yoghurt produced by Yankees but purchased in Yen or in exchange for a few Yaks, I dreamt of a Yeti, one of those really big, bad a muscular ones that said choose me over and over, and the more it repeated its message, the bigger it became, until - swollen with rage and with its flames burning - it took hold of its hair head and pulled it off; it was a mask. Underneath was a normal, almost anonymous, person, who gradually deflated until he was about my size. He looked at me and said Choose me? and I answered OK, and he answered OK, and that night I found my word.  Niccolò Matcovich
 

Synopsis
It is the year 2050. The Great Frost has completely covered the planet. The cities are empty, the trapped oceans are endless sheets of ice, and the vegetation has wilted. The sun has grown cold, it seems unable to reach the planet. In the ice desert, two Ferrymen land on the Himalayas with a single goal: find the Yeti.

Biography

 

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

 

Xabaras di Pablo Solari, with Marco Mavaracchio, Simone Tudda, Petra Valentini.
Podcast online on Spreaker from Sunday 6 June 2021

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Xabaras, the father of Dylan Dog, an anagram of Abraxas, one of the names by which “the great archon”, God, or perhaps his opposite, is known. Fantasy, legend and divinity are the elements on which I built this dark tale in which Xabaras is the lead character. Pablo Solari

Synopsis
During a distant winter, that which was once known as the Piccolo Teatro is now a ruin overrun by vegetation and inhabited by a young man and a majestic black horse. Xabaras, a mysterious pilgrim, arrives at the door of the Teatro asking for shelter in exchange for precious knowledge.

Biography

 A director and playwright, he was born in 1989 and graduated in Theatrical Directing at the Paolo Grassi Civic School of Theatre in Milan in 2015. He wrote Oreste, part of the UBU award and 2016 Critic’s Award-winning play Santa Estasi: Atridi: otto ritratti di famiglia by Antonio Latella; he was responsible for the theatrical adaptation of Cavalieri di Aristofane, which was performed during the 54th Siracuse National Festival of Ancient Drama, with Francesco Pannofino, Gigio Alberti, Antonio Catania, Roy Paci and others. His directed works include: L'indifferenza; Contenuti Zero Varietà; Carapace, in collaboration with the musician Roy Paci; L'amore ai tempi dello storytelling (2020), written and directed in collaboration with the satirical group “Il terzo segreto di satira”; Elia Kazan. Confessione americana which made its debut at the 2020 Biennale of Theatre in Venice. He made his debut as an opera director with two completely original single acts for the evening 4 one-actoperas, which closed the 2019 Biennale of Music in Venice. He was a finalist in the 2019 Riccione Tondelli award with the text Woody è morto. Since 2021 he has been working with Marco Balich for Balich Worldwide shows, which produces large-scale events and Olympic Ceremonies. (Ph. Wanda Perrone Cappano)

 

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

 

 

Vuoto by Francesco Bianchi, with Giovanni Drago and Francesca Osso
Podcast online on Spreaker from Friday 4 June 2021

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I chose the word VUOTO (emptiness) for the Abbecedario because of all the words in the Italian language that begin with V, I think it is the one that best expresses this new era we find ourselves in, both individually and collectively.
When it becomes impossible to leave the house, when whatever lies outside seems dangerous and inhospitable, the four walls of a room change.
They become the walls of the skull, and at the same time of the whole world, enclose the totality of the human horizon.
The events and people that crowded our lives no longer exist, and we are left alone with ourselves, with our own id, our own memories.
Space expands and empties, leaving us alone.
Taking my cue from these thoughts, I chose to explore the condition of emptiness that characterises one’s perception of self. Faced with a void that appears to envelop them, the character digs deep into their own memories in search of a sense to their existence, in order to escape from the feeling of loss and dissolution. How? By seeking answers from the past, in the relationship that they have had (and which has finished) with a woman, in the midst of feelings that die and incongruities that grow and fester in the fabric of the couple’s lives. The fact that his ex is the Devil in person renders the whole situation even more complex, but also perhaps more ironic.
Vuoto is a failed relationship, a disappearing world, a pact with the Devil that is impossible to sign. At least for me. Francesco Bianchi

Synopsis
A man addresses a woman while looking out of a window. The two reflect on their lives, on the end of their relationship, and on the sense of emptiness both individual and collective that characterises contemporary existence. Oh, and the woman is the Devil in person.

Biography

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Unni by Michelangelo Zeno, with Alfonso De Vreese, Anna Manella, Marco Mavaracchio, Francesca Osso
Podcast on Spreaker from Sunday 30th May 2021

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Unni (Huns) is a wonderful word for a wonderful population. They were invaders, and this is fun, because often the most fun people at a party arrive late, after dinner, and often haven’t been invited. Everything I know about the Huns I got from Wikipedia, a free encyclopaedia that is extremely popular on the internet. The word Unni has a double letter, but this was not the choice of the Huns. It was a decision made by a group of historians who have no respect for the wishes of the deceased. One thing that everyone knows is that the Huns cooked meat by putting it under their horse saddles. What many do not know is that sometimes they got confused and ate the horse by mistake, meaning they had to walk. If they had been more careful, they would have invaded the Roman Empire a century earlier, and we would have been saved an hour of history. The Huns are an extremely interesting people. My piece is not about them. Michelangelo Zeno

Synopsis
In a typical kitchen in a typical house, four people are having breakfast. A silent man, a woman tidying up, a young girl in a tracksuit and a teddy boy who has just been dumped by his girlfriend. Endemic inability to communicate, difficulty in accepting failure and repressed desire create a fertile ground for the invasion of something that is apparently unknown, but that is permanently before us.

Biografia

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Tu by Pier Lorenzo Pisano, with Petra Valentini
and with Monica Buzoianu, Giovanni Drago, Alfonso De Vreese, Lorenzo Frediani, Anna Godina, Leda Kreider, Anna Manella, Marco Mavaracchio, Francesca Osso, Simone Tudda
Podcast on Spreaker from Saturday 29th May 2021

 

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TU (you) is the word that perhaps best expressed the sense of face-to-face encounters. It is a form of base unit of relationships, of theatre, encased in two syllables. In this work, it is a long chain of images brought together by meaning, scope and violence, expressing moments, stories and worlds without a precise common denominator. TU flows through everything that surrounds us, through our human experience. It is an ever-changing and composite river that splits into the most infinitesimal particles as it dives into the depths, to then leap away, once again just a blue line in the distance. Pier Lorenzo Pisano

Synopsis
TU is a chain of images brought together by meaning, scope and violence, expressing moments, stories and worlds without a precise common denominator. It flows through everything that surrounds us, through our human experience. It is a river that splits into the most infinitesimal particles as it dives into the depths, to then leap away, once again just a blue line in the distance.

Biografia

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Simultaneità by Christian Di Furia, with Giovanni Drago and Petra Valentini
Podcast on Spreaker from Friday 28th May 2021

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Why Simultaneità (simultaneity)? Because it is magical, it is fathomless. It is the fantasy of being everywhere, here and there in the same moment. It is the knowledge that the world and all its forms of life exist not beyond us, but together with us, in the same moment, simultaneously.
We all live in the same moment.
Yet we live alone.
This is why simultaneousness is a utopian ideal. It is deceptive.
Christian Di Furia

Synopsis
A brother and sister find themselves, at the same moment, facing two events that are fundamental to their respective existence.

 

Biografia

Abbecedario per il mondo nuovoAbbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Rovesciato by Maria Teresa Berardelli, with Alfonso De Vreese
Podcast on Spreaker from Sunday 23rd May 2021

 

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An upside-down (rovesciato) world is the idea that our current times brought to mind. An upside-down world is what Franz Liszt’s Hungarian Rhapsody n.2 - on which the text is constructed - gradually led me to. An upside-down world is where the lead character wakes up. All behaviour, all relationships, all situations have been turned upside down. In this overturned world, he no longer understands anything. He struggles to recognise objects, people, everything. He even struggles to recognise himself.Maria Teresa Berardelli

Synopsis
A young man wakes up to find the world has been turned upside down. All behaviour, all relationships, all situations have been turned upside down. In this overturned world, he no longer understands anything. He struggles to recognise objects, people, everything. He feels alone, and even struggles to recognise himself.

Bio

 

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Quasi by Stefano Fortin, with Alfonso De Vreese, Lorenzo Frediani and Petra Valentini
Podcast on Spreaker from Saturday 22nd May 2021

 

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In this moment (both in history and in my personal life), substantives, verbs and adjectives frighten me with their semantic density. More than clear meaning, I feel that what I needed was a vacuum, a word in which I was unable to move freely. Quasi (almost) is this undefined space, the impossible, the infinitely small that fills our daily lives, whatever that may be. Stefano Fortin

Synopsis
Almost is everywhere in our lives, in events both exceptional and daily. It is a persistent sound that accompanies the dimming of the sun, a couple making a sex tape, a cashier working at a supermarket. It may be hidden in the four hundred and eighty seconds in which we are unable to notice.

Biografia

 

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni

Pnìgos di Margarita Egorova, by Margarita Egorova, with Alfonso De Vreese, Lisa Ferlazzo Natoli, Lorenzo Frediani, Leda Kreider, Petra Valentini. And with Marco Mavaracchio, Anna Manella and Francesca Osso
Podcast on Spreaker from Friday 21st May 2021

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Pnìgos, suffocation, an interlude in a play in which the coryphaeus faces the public bare faced, maskless, to defend the political ideas of the author: a statement. In order to be able to speak of a new world, I felt it was important to speak of a new form of human, shaped by the times and by the technology that they have created. Smartphones, portable computers, internet connections: the pandemic has rendered them essential items, accelerating existing dynamics, such as the transformation of how we communicate, the perception of reality, the forced conversion from analogue to digital, where the ability to translate matter into numbers dictates its survival. Margarita Egorova

Synopsis
Pnìgos aims to examine the theme of the progressive digitalisation of human experience through the eyes of the most defenceless of subjects, and the category hardest hit by the pandemic: children.

Biography

 

Abbecedario per il mondo nuovo
a Piccolo Teatro di Milano – Teatro d’Europa production 
in collaboration with the Hystrio – Playwriting Award and the Riccione “Pier Vittorio Tondelli” Award
directed by Lisa Ferlazzo Natoli and Alessandro Ferroni