TRILOGY OF RESEARCH ON MAN – first part
Directed and written for the stage by Gaddo Bagnoli
Actors Claudia Franceschetti, Andrea Magnelli e Marco Olivieri
Original music by Sebastiano Bon e Francesco Canavese
Costumes by Gabriella Campagna
Scene by Davide Cappellato
Event management Scimmie Nude
Produced by Federica Maria Bianchi
The premiere was in February 26th 2009 at Teatro della Contraddizione in Milan.
In 2009 invited to E45 Fringe Festival of Napoli Teatro Festival Italia.
In 2009 finalist and Best Acting Prize to Claudia Franceschetti at Festival In breve.
In 2013 Audience Prize at Fêtes Internationales du Theatre (Canada).
In 2014 selected to Rome Fringe Festival.
In 2015 finalist to Festival Troia Teatro.
Mentioned as one of the best shows seen in 2016 by Italian critics site SaltinAria.
A subtle text taking shape from the need to further investigate the human condition through human beings’ desires, excuses and fears, seeing men and women as deserted beings. Theatre is used to investigate the human condition: by sequencing crude, real-life shots, it helps us think about what we have become. Thus, all of our fears inexorably flow before our very eyes, inescapably linked to our desire to live, win, love.
This process develops in contemporary breaking news: we read no names and no dates, but we read about what brings a man to kill his parents or a woman to be entangled in a sordid affair she fears but to which she feels inevitably attracted; children of our era, older than us, more mature and sincere, in one word, grown-up. Desire stems from the will to understand, to further penetrate the human soul, not to judge our times but to show (like in a wicked but true fable) what’s bringing Fear and Desire together, what’s the red thread binding these two ambitions and why they’re so closely tied… and can’t help coexisting. It’s our desire to become reporters through an unusual mean, theatre, which can talk to hearts and leaves no way out: what you think and believe might happen is right before your eyes.
A woman, tied and gagged. Two men come up to her and start interviewing her furiously, persecuting her; but, as they’re leaving, the woman begs them to stay… We can’t simply narrate “Fearanddesire”, because there’s no real story about it, there’s only a plot taking its shape in the individual conscience of each member of the audience; it’s like each watcher builds his/her own story thanks to the projections of his/her own sensitivity and the surfacing of his/her unconscious archetypes. It’s a disciplined chaos dominated by perverse and morbid instincts, and by deviated rationality because of our deceptive, virtual human experience, endlessly permeated by judgment and by the castrating push to prevaricate, to make us “seen”, in any possible way, by other people.
A white box contains the show’s contents. The three actors, wearing the three primary colors, move in this abstract space, weaving situations and facts. Each color has a precise meaning related to the actor’s sensitivity: red like flesh, blood and passion; yellow like the mind’s eye, the thought of thought; blue as the deep sea, as the inner fear to love. The only objects on stage, binding and connecting the performers’ actions, are a rope, a red ball and a chamber pot. Pictures flow inexorably and inevitably, and force the actors into changing situations to which they react, each time turning into animals, mothers and fathers, lovers, children, soldiers and so on.
These imaginary roles represent the monster we carry within us and basically refer to a couple of parts: the victim or the torturer. The desire to (not only physically) have does rule our life. If someone acquires power, (s)he becomes the master/torturer of someone else, who will in turn crave for power, and so forth, always torn between fear and desire. We endlessly crave for something more and when we get it we fear we might lose it. Spellbound by this process, we often fail to even discriminate between what we want and what we don’t care about, between what we fear and what we don’t fear. We wanted to create a powerful theatre plot made of physical reactions, extremely powerful emotions, pure vocalism and speech, easily captured with a new kind of listening, which is deeper and more personal.
These stories and characters don’t develop a “stance”, a logic meaning which can be rationally understood. Actors make things happen, they’re body wizards, heart wizards. Our heart is consumed with loneliness but it is the only foundation from which life can start again.
In April 2013, at Fêtes Internationales du Theatre (Canada) -17th edition-, Fearanddesire was declared the best show of the Festival and won the Audience Prize . The troupe was awarded for
“the originality, the sensitivity, and the wonderful acting of the group.
Their performances – both voice and acting – are a major contribution to the success of the festival”.
Teatro Pim, 2008 (Milan)
Rassegna Cambiopalco!, 3 luglio 2008, Prato
Stagione Sperimentale Europea 2009, Teatro della Contraddizione (Milan)
Teatro Puccini, 2009 (Florence)
E45 Fringe Festival, Napoli Teatro Festival Italia 2009 (Naples)
Festival Aut _ Out Microteatri Incondizionati, 2009 (Montisi – Siena)
Teatro San Genesio, 2009 (Rome)
Teatro Moderno, 2010 (Agliana)
Teatro Out Off, 2011 (Milan)
Festival Emersioni, 2011 (Milan)
Fete Internationales du Theatre (FIT), 2013 (Canada)
It Festival, 26 maggio 2013, Milan
Teatro Foce, 2014, Lugano (Switzerland)
Roma Fringe Festival, 2014 (Rome)
Festival Troia Teatro, 2015, August 7th,Troia
Teatro di Nascosto- Hidden Theatre, 2015, August 20th, Volterra
Spazio Aità, 2016, April 16th-17th, Brescia
Teatro della Contraddizione, 2016, May from 5th to 8th, Milan