Cuori strappati (1983)
With Giorgio Barberio Corsetti, Marco Solari, Irene Grazioli, Guidarello Pontani, Alessandra Vanzi
Lighting and scenery Alessandro Violi
Costumes by Claire Longo
Graphics by Beatrice Scarpato
Music selections by Wiston Tong, Bruce Gedulding, Tuxedo Moon
Organization Massimo Pasquini
Sound engineering Ennio Fantastichini
Technical scene realization Aldo Fornari
Tailoring Antonietta Fornari
the word dress by Gianni Dessi
Mida’s objects by Giuseppe Gallo
Press office Anda Fabrizi
Computerized portrayal of set desgn by Michele Böhm
the Il vento costume worn by Irene Grazioli designed by Gianni Dessi
First performance: Rome, Padiglione Borghese, May 2, 1983.
Repeats:May 1983: Cosenza, Palazzo dello Sport – Nami, Piazza dei Priori. – July 1983: Florence, Giardino di Villa Machiavelli – Polverigi Festival – Turin, Teatro Verdi in Points – Bari, Castello Svevo – Aosta – Zurich (CH), Zürcher Theater Spektakel. – September 1983: Frankfurt’s Theater am Turn. – October 1983: Graz (AU), Steirischer Herbst – Rome, Teatro Olimpico. – January 1984: Fabriano, Teatro Comunale. – February 1984: Rimini, Teatro Novelli – Carpi, Teatro Comunale. – March 1984: Cagliari, Auditorium – Nuoro, Teatro Eliseo – Sassari, Teatro Verdi – Palermo, Teatro Biondo. – April 1984: Naples, Teatro Mediterraneo – Milano, Teatro Hermes. – May 1984: Bologna, Teatro Testoni. – July 1984: Turin, Teatro Verdi in points. – August 1984: Bari, Castello Svevo. – September 1984: Rome, Teatro Argentina. – October 1984: New York (USA), Teatro Cafe La Mama.
Cuori strappati. Presentation
by Stefano Scipioni
After the vibrant nocturnal page of Gli Insetti preferiscono le ortiche, now, just a year later, comes Cuori strappati, a masterpiece of grace and nonsense, which is a unique, exemplary culmination of the perfect harmony and maturity achieved by the group. The title should not mislead. In this chameleonic, colorful puzzle there is no place for tragedy or sentimental torments, but a joyful, lively reinvention of playful forms where the game of doubles and metamorphoses is the driving force of the show. After a stunning opening on a nocturnal note sealed by a downpour of water and the appearance of a curtain-membrane from which the body of an actor struggles to escape, as if to suggest the idea of a birth, the play brightens with the colors of a Mediterranean solarity, shifting to the heart of a town like something out of an operetta, with colorful blocks of buildings dotted with lopsided platforms, staircases and doorways that replace the wooded landscape of the previous performances. Mediating with the practice of installation, The Gay Science defined the stage space for the first time with a backstage and backdrops, but did so in its own way by upsetting the traditional theatrical conventions to once again create a ubiquitous dimension based on multiple viewpoints.