Il mostro di Belinda

A beautiful and kind-hearted young woman, a man representing evil. Chiara Guidi – whose theatre is aimed at children and speaks to adults – follows the path of discovering and accepting that which is monstrous taken by Belinda, the heroine of the famous fairy tale, who is capable of bringing goodness out from the dark with the love she shows for the Beast.

Co-founder of the historical Societas Raffaello Sanzio (now known as Societas), Chiara Guidi has perfected an idea of infancy and of experimentation of the voice that questions theatre. The subject of her research this time is one of the most famous of traditional fairy tales.
«Belinda – explains Guidi – is the youngest of the family and, unlike her older sisters, incarnates an extraordinary beauty and kindness. She expresses it in all that she does. Until, one day, the monstrous Beast calls her, and she, out of Love, responds, agreeing to see him and to talk with what is extraordinarily ugly and evil. Why does she do it? To save a man, her father, even risking her life. Thus, a part of her accepts the Beast, and a part of the Beast accepts Belinda. How this happens is unclear, but it takes a battle to go to where something hides, and to hear a voice within another voice. [...] A play of interwoven multiplications and divisions that go beyond the logic of naming to embrace the logic of Love, where those names are blurred together.»

Recommended for audiences aged 8 and over

Duration: 60' without intermission

Cities

SEASON 2024/25

Torino | 28 November - 1 December 2024
Casa del teatro ragazzi | Info

Co-founder of the historical Societas Raffaello Sanzio (now known as Societas), Chiara Guidi has perfected an idea of infancy and of experimentation of the voice that questions theatre. The subject of her research this time is one of the most famous of traditional fairy tales.
«Belinda – explains Guidi – is the youngest of the family and, unlike her older sisters, incarnates an extraordinary beauty and kindness. She expresses it in all that she does. Until, one day, the monstrous Beast calls her, and she, out of Love, responds, agreeing to see him and to talk with what is extraordinarily ugly and evil. Why does she do it? To save a man, her father, even risking her life. Thus, a part of her accepts the Beast, and a part of the Beast accepts Belinda. How this happens is unclear, but it takes a battle to go to where something hides, and to hear a voice within another voice. [...] A play of interwoven multiplications and divisions that go beyond the logic of naming to embrace the logic of Love, where those names are blurred together.»

Recommended for audiences aged 8 and over

Duration: 60' without intermission

Credits

Il mostro di Belinda
metamorfosi di un racconto
based on an idea by Chiara Guidi
dramaturgy Chiara Guidi and Vito Matera
sound composition Scott Gibbons
sets, lighting, costumes Vito Matera
with Maria Bacci Pasello, Eugeniu Cornițel, Alessandro De Giovanni
and with the voices of Demetrio Castellucci, Chiara Guidi, Anna Laura Penna, Giulia Torelli
and with the voice of Lavinia Bertotti
voices of the children Bice Bosso, Maddalena Bosso, Eva Castellucci, Lia Castellucci, Nora Castellucci, Michele Guerri, Enrico Guerri, Iris Guerri, Amedeo Matera, Daphne Sophia Nguyen, Ophelia June Nguyen, Agata Scardovi, Federico Scardovi, Gabriel Rotari, Mia Valmori
sound Andrea Scardovi
technician Francesca Pambianco
scenes Attosecondo
costume designer assistant Chiara Venturini
cured by Irene Rossini
production manager Benedetta Briglia
technical director Eugenio Resta
on-site technical team Lorenzo Camera, Carmen Castellucci, Francesca Di Serio, Gionni Gardini, Dario Neri
administration Michela Medri, Elisa Bruno, Simona Barducci, Massimiliano Coli
editorial team Cristina Ventrucci
a Societas production
co-producted by Piccolo Teatro di Milano – Teatro d’Europa, Fondazione Teatro Ragazzi e Giovani – Onlus and Emilia Romagna Teatro ERT / Teatro Nazionale

Recommended for audiences aged 8 and over