Macbeth, le cose nascoste
Concluded
©© LAC, Foto Studio Pagi - Foto di Foto Studio Pagi
Carmelo Rifici continues his exploration of the classics. It is no coincidence that his version of Macbeth, subtitled Le cose nascoste (hidden aspects), is the result of a journey into the souls of the actors, in search of their hidden aspects and examining the archetypes of the subconscious.
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Teatro Strehler
Four years on from Ifigenia, liberata, Carmelo Rifici continues his exploration of the classics and the archetypes of the subconscious with Macbeth, le cose nascoste: while philosophy was the tool that accompanied his work on Ifigenia, psychoanalysis is the cornerstone of the creation and production of Macbeth. An integral part of the project was the sessions of psychoanalysis carried out by Giuseppe Lombardi, a Jungian psychoanalyst, and Luciana Vigato, a psychotherapist, during which the actors re-examined the themes of the work in a mix of personal experience and cues from the play.
The director has stressed that the project took shape in three stages, “the first consisting in an analysis of the actors involved in the play. Their “hidden” aspects led to the second stage, involving work on the characters: Macbeth wants to discover what lies beyond the known, and to destroy the sense of things. [...] the third section is linked to the infernal world of the witches, of Hecate, the black sea in which the collectivity, the community of humankind, swims”. The idea of the project is to offer spectators the opportunity to reconnect with their “inner witch” allowing themselves to be led through a collective dream in a dialogue/encounter with impulse and desire.
The performance includes a scene of full-frontal nudity.
Duration: 130 minutes without interval
Four years on from Ifigenia, liberata, Carmelo Rifici continues his exploration of the classics and the archetypes of the subconscious with Macbeth, le cose nascoste: while philosophy was the tool that accompanied his work on Ifigenia, psychoanalysis is the cornerstone of the creation and production of Macbeth. An integral part of the project was the sessions of psychoanalysis carried out by Giuseppe Lombardi, a Jungian psychoanalyst, and Luciana Vigato, a psychotherapist, during which the actors re-examined the themes of the work in a mix of personal experience and cues from the play.
The director has stressed that the project took shape in three stages, “the first consisting in an analysis of the actors involved in the play. Their “hidden” aspects led to the second stage, involving work on the characters: Macbeth wants to discover what lies beyond the known, and to destroy the sense of things. [...] the third section is linked to the infernal world of the witches, of Hecate, the black sea in which the collectivity, the community of humankind, swims”. The idea of the project is to offer spectators the opportunity to reconnect with their “inner witch” allowing themselves to be led through a collective dream in a dialogue/encounter with impulse and desire.
The performance includes a scene of full-frontal nudity.
Duration: 130 minutes without interval
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© LAC, Foto Studio Pagi
Credits
Piccolo Teatro Strehler, from 11 to 23 May 2021
Macbeth, le cose nascoste
by Angela Dematté and Carmelo Rifici
based on the play by William Shakespeare
dramaturg Simona Gonella
planned and directed by Carmelo Rifici
scientific psychoanalyst Giuseppe Lombardi and Luciana Vigato expert in non-verbal communication and relational styles
with (in alphabetical order) Alessandro Bandini, Alfonso De Vreese, Angelo Di Genio, Tindaro Granata, Leda Kreider, Maria Pilar Pérez Aspa, Elena Rivoltini
and with (alternately) Angela Dematté, Simona Gonella, Carmelo Rifici
sets Paolo Di Benedetto
costumes Margherita Baldoni music Zeno Gabaglio
lighting design Gianni Staropoli video Piritta Martikainen
director’s assistant Ugo Fiore
sets and costumes made by the Piccolo Teatro di Milano Sets and Costumes workshop
crowns Alessandro De Marchi
a LAC Lugano Arte e Cultura production
in coproduction with Teatro Metastasio Prato, TPE – Teatro Piemonte Europa, ERT – Emilia Romagna Teatro Fondazione, in collaboration with Centro Teatrale Santacristina
research partner Clinica Luganese Moncucco
With thanks to Giuseppe Lombardi for his heartfelt participation in the project
Igor Horvat for his participation in the video
Alessio Maria Romano for curating stage movements
and all the technical staff at LAC. Special thanks to Chiarastella Serravalle and the Arte-Mide Cultural Association (Venice) for the video footage of the lace master Emma Vidal
With heartfelt thanks to Christian La Rosa for the journey undertaken together
Tickets
Stalls full price € 40
Balcony full price € 32
There will be no provision for the sale of subscriptions
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For artistic reasons, access to the auditorium is not permitted once the performance has started.
You may take your seat during any intervals.
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Safety measures for access to performances
- In order to prevent queues and crowding, we invite spectators to arrive at the venue for the show in advance of the scheduled start time.
- For access face masks must be worn (or an alternative form of protection approved by the Lombardy Region. Non-medical masks are prohibited). The face mask must be worn for the entire duration of the play. “Courtesy” face masks will be available for spectators who do not have suitable protection. Hands must be sanitised via the dedicated dispensers.
- Personnel at the entrance will have dedicated thermal scanners for measuring temperature. Spectators with a body temperature equal to or higher than 37.5°C will not be granted access.
- seats assigned guarantee respect for regulations regarding interpersonal distancing.
- Spectators are kindly requested to follow the instructions provided by the ushers as well as via audio and visual indications in the venue.
Groups
For information on tickets and the use of vouchers for organised groups, please contact the Office for Public Promotion and Cultural Proposals
tel. +39 02.72.333.216
email promozione.pubblico@piccoloteatromilano.it
