Showing posts with label Piccolo Teatro di Milano’s Inner Voices. Show all posts
Showing posts with label Piccolo Teatro di Milano’s Inner Voices. Show all posts

Tuesday, June 25, 2013

ACT OUT OPENING TONIGHT: Piccolo Teatro di Milano's Inner Voices at Chicago Shakespeare

Chicago Shakespeare joins the Italian Ministry of Cultural Affairs and Italian Cultural Institute of Chicago to commemorate the 2013 Year of Italian Culture in the U.S.

We've been excited about this acclaimed production since our first posts about Inner Voices back in December.   Tonight's the night we'll finally be there to review.   The macabre premise of a man who dreams so vividly of a murder that he convinces himself that it actually occurred is so compelling.   We love black comedies and we'll bring you the full scoop soon.   This is a short 5 day run at Chicago Shakespeare, so book your tickets today!

Check back with ChiIL Live Shows like we vote in Chi, IL... early and often.   It was our great pleasure to kick off the "Year of Italian Culture in the US" with a luncheon at the Chicago Cultural Center with Italian dignitaries, multicultural poets and members of the press.   We'll have much more to come on the wonderful Italian theatre, art, food and cultural events in store for Chicago in the months to come.

by Eduardo De Filippo
directed by Toni Servillo
in CST's Courtyard Theater
June 25–29, 2013
A World’s Stage Production from Italy
Performed in Italian with projected English translation.
co-production Piccolo Teatro di Milano-Teatro d’Europa/Teatro di Roma/Teatri Uniti
preview at Théâtre du Gymnase, Marseille, European Capital of Culture 2013

Chicago Shakespeare joins the Italian Ministry of Cultural Affairs and Italian Cultural Institute of Chicago to commemorate the 2013 Year of Italian Culture in the U.S. First written and performed in Milano in 1948, Inner Voices tells the story of a man who dreams the murder of a friend so vividly that he believes the crime has actually been committed by his neighbors’ family. This gripping production features Toni Servillo, hailed by The New York Times as “the best Italian stage and screen actor of his generation,” leading a multi-generational cast of celebrated Neapolitan actors. It also marks the return of Italy’s renowned Piccolo Teatro di Milano, which last played Chicago in 2005 when CST presented Arlecchino, Servant of Two Masters. Inner Voices has been coproduced with Teatri Uniti from Naples and Teatro di Roma.

Approximate Running Time: 1 hour and 50 minutes (no intermission)

Inner Voices is presented in the Jentes Family Auditorium.
International programming at Chicago Shakespeare Theater is supported, in part, by the Julius Frankel Foundation.

"Inner Voices". Between dreams and reality with the Servillo brothers
"The tragedy of Italy is not having revolted, of not having killed the father, as Umberto Saba said, and suddenly we have become fratricidal" - this is one of the acute considerations that Toni Servillo makes on the ethical dispute between what is admissible and what is not in the post-war period lived by our country as described by Eduardo De Filippo in Inner Voices, a play with which the actor-director has recently debuted in Marseilles and which is now at the Piccolo Teatro, Milan, before departing for the Argentina in Rome on Tuesday 7. "For a certain loss of sense and rules of civil living, the people of today have also fallen into a relationship crisis from which it seems difficult to escape" says Servillo, who returns after 11 years to take on Eduardo, after the exceptional Saturday, Sunday and Monday The opportunity here is provided by a weaving of nightmares and evil deeds presumed real, in a climate of monstrosity and restless sleep. "Alberto Saporito, my character, unmasks his own guilty conscience and that of everyone else when he accuses a neighbouring family, which he sees as irrefutably guilty, of a crime, a crime which he then realises he has only dreamt of. It is however too late, and the bad situation creates further reciprocal suspicions, accusations and betrayal." Here it is, an intense theme ofInner Voices: disloyalty, u-tums, mistrust, even between relatives or cohabitants..."
Rodolfo Di Giammarco, La Repubblica

The restless sleep of monsters
They begin and end in sleep, the Inner Voices with which Toni Servillo returns to Eduardo, a few years after that Saturday, Sunday and Monday which seemed to us to have been the most beautiful and moving treatment of a piece by the Neapolitan master since his death. And we all know well what sleep can create when the grip of reason is loosened. It is a black comedy of dreams, shadows, visions, nocturnal nightmares, Inner Voices. The restless souls of the dead nest, they creep into the house, into the nooks and crannies, even, shamelessly, into clothes- into the tie which will not knot. The maid Maria - who we see at the beginning lying on a chair at the kitchen table - dreams, unable to work in the early hours of the morning. And even in her young innocence, the dream is a surreal film of images which drip blood. Alberto Saporito dreams. And in this dream he is convinced that his neighbours - the good family Cimmaruta which lives off the work of its womenfolk- have killed his friend Aniello Amitrano. He spied on them, he saw how they had drawn him into a trap and where they had hidden the blood-soaked shirt and the incriminating documents: in a hole behind the dresser. He thus hastens to formally accuse them and now there in their kitchen he waits together with his brother for the arrival of the police, stealing glances at the clock which prolongs the cruel pleasure of being able to openly throw in their faces the still concealed rancour. Bum them alive, he cries, with the zeal of a religious inquisitor, as they are lead away. But did Alberto Saporito really dream? He himself is no longer sure. He no longer knows what is real in this melting pot of reality and dream, in front of the procession of relatives who accuse each other of the crime. They believed it possible, they accepted it, maybe they were ready to commit another, as he claims in the moralistic finale, when a blinding light floods the stage and brings what should be the moment of truth. Everyone thinking that he withdrew out of fear. Everyone repeating to him, produce the documents, there's no point saying he doesn't have them.
Gianni Manzella, 11 manifesto

Eduardo, Servillo, and the "moral postwar" of today.
On Sunday afternoon I went to the Piccolo Teatro di Milano to enjoy Inner Voices by Eduardo De Filippo with a Toni Servillo who speaks with his eyes and hands, his brother Peppe, a white table, a dresser and a couple of chairs. A neo-realist joumey through the guilty conscience of humanity which begins in the rubble ofthe Second World War and which strips bare the fall of the values of the "moral postwar" of today. Small and great miseries take to the stage, characters with their vileness and suspicions, stains of hatred and the usual dose of hypocrisy, gestures and (bitter) portraits of a "guilty conscience" of both the young and the old. A piece of miraculous foresight which only the talent of Eduardo could have conceived in 1948, and which only the talent of Servillo could interpret so faithfully as to conduct us through the meanders of a soul devoured by envy and the (unfortunately) evermore frequent trails of the moral corruption of today..."
Roberto Napoletano, II Sole 24 Ore

The soul of Eduardo in the clothes of The Tramp
"It is clear that the Inner voices, the voices of conscience, reflect the traumas of a country where everyone suspects everyone else, where values seem to have disappeared, where the wisest prefer to remain silent because they know they will not be understood; such as the old and almost invisible Uncle Nicola who communicates to the world by letting off firecrackers and who only Alberto can understand. The world of dreams here mixes and is confused with reality, and this is expressed well (the second act played in chiaroscuro is wonderful) through Toni Servillo's direction which translates everything with subtle intelligence into a metaphor. With moments of pure comedy within a noir frame, Toni Servillo excels: dressing in that baggy suit "à la Tramp", he gives his character that Chaplin touch. This too is genius."
Domenico Rigotti, Avvenire

Divine Comedy
"As a director, Servillo shines for his winning attitude, for which Naples "understands more that one sees". Suddenly, the simple costumes serve only to define the era, in the same way that the minimalist scenery enhances the musicality of the Neapolitan dialect. A dialect which Servillo and the dozen actors who accompany him (among them his real-life brother, Peppe, a perfect bigot, more suited to scrounging than bowing) play with, dragging the words and transforming the consonants to better prolong the vowels. Although the subtitles at times delay the reactions of the audience by a few moments, they are reduced to a minimum, just enough to help follow the conversation without interfering with the acting. Apropos the acting: Servillo stands out for all that he is, one of the most talented Italian actors, able to transmit to all the lowliness of humanity of the post-war period simply by holding his head in his hands. Supported by a razor-sharp piece and surrounded by talent, he is divine."
Paul Goiffon, La Marseillase

The ruin of Italy as seen by De Filippo
Toni Servillo stages "Inner Voices", written in 1948, which recalls the current crisis.
"In Naples it is raining. Italy has never seemed so confused, irritable, divided, such a caricature, than after the elections of 24 and 25 February. In Genova, an elderly comic, Beppe Grillo, holds politics hostage. In Milan, the deathwatch of members of Silvio Berlusconi's party, among them an ex minister of justice, have demonstrated against the judiciary. In Rome, the search is on for a government. A little light is needed. We enter the theatre in order to see better ( ... ) "I had already staged Saturday, Sunday and Monday by De Filippo - explains Servillo - a perfect play which foresaw the economic boom of the 1960s. This is darker, more difficult to stage. Written in 1948, at the end of the war, it speaks of the moral ruin which followed the material ruin of Italy. I chose to tell of this precipice in which truth and lies, legal and illegal, are confused. The war changed the nature of man and we no longer know how to communicate or understand each other." One of the characters, who expresses himself simply by lighting firecrackers, illustrates this abyss: he has chosen silence "because the world is deaf.'"

Philippe Ridet, Le Monde

Friday, December 21, 2012

Chicago Shakespeare Goes Global With World's Stage Collaborations in 2013 #ChicagoShakespeare

Chicago Shakespeare Theater
Announces 2013 World’s Stage Presentations

Stories from Belarus, South Africa, Nigeria and Italy Come to Chicago
Social and Political Issues Take Center Stage

Chicago Shakespeare Theater (CST) announced today four new World’s Stage presentations in 2013—bold theatrical events from across the globe, each in its own voice, provoking discussion on issues of international significance. On the heels of celebrating the Year of Creative Scotland with two critically acclaimed National Theatre of Scotland productions this fall, Chicago Shakespeare Theater continues to demonstrate its commitment to engage audiences in global issues, bringing to Chicago conversations of searing social and political importance through the work of internationally acclaimed theater artists.

Following its widely acclaimed 2010 production of Being Harold Pinter, the provocative Belarus Free Theatre returns to Chicago this winter, exploring the nature of sex in one of Europe’s last surviving dictatorships with Minsk, 2011: A Reply to Kathy Acker (January 30–February 3, 2013). 
In February, Chicago Shakespeare partners with The Market Theatre of Johannesburg to present the world premiere of Cadre, written by and featuring South African artist Omphile MolusiCadre tells the story of a former soldier in the Azanian People's Liberation Army during and after Apartheid, juxtaposing South Africa’s violent and passionate past with its disillusioned present (Chicago: February 15–23, 2013; Johannesburg: March 18–April 14, 2013)

In the spring CST presents the American premiere of the Olivier Award-winning Roadkill,site-specific performance for which audience members are transported by mini-van to an apartment in Chicago and are confronted with the brutal realities of sex trafficking. Drawn from the harrowing details of a young Nigerian woman trapped in a living nightmare, this production is the catalyst for The British Council’s collaboration with CST and St. Ann’s Warehouse in New York City to create a public program that engages local partners in a dialogue on the impact of human trafficking (Chicago: May 11–26, 2013; New York: June 4–30, 2013)

This June, Chicago Shakespeare joins the Italian Ministry of Cultural Affairs and Italian Cultural Institute of Chicago to commemorate the Year of Italian Culture in America with the American premiere of Piccolo Teatro di Milano’s Inner Voices. Written by Eduardo De Filippo, one of Italy’s most translated and respected writers, the play investigates perceptions of morality amidst a devastating post-war landscape (June 25–29, 2013).

Committed to shining a spotlight and fostering dialogue on the substantial international issues explored in the 2013 World’s Stage Series, Chicago Shakespeare is encouraging broad-based participation from across the City. In support of this engagement initiative, all tickets for Minsk, 2011: A Reply to Kathy Acker and Cadre are $20.
“Chicago Shakespeare’s World’s Stage presentations, commissions and international touring have redefined the Theater’s reach and importance to Chicago,” said CST Executive Director Criss Henderson. “We are actively contributing to an aspiration of the City’s Cultural Plan—to be a ‘global destination for creativity, innovation and excellence in the arts,’ by stimulating the international conversation on critical global issues.”
Chicago Shakespeare Theater’s line-up of international presentations is emblematic of the scope of work presented in the World’s Stage Series—a year-round initiative that brings the world’s most exciting theatrical events to Chicago audiences and presents Chicago Shakespeare’s work abroad. Chicago Shakespeare has collaborated with more than 600 international artistsrepresenting 16 countries on five continents ,engaging audiences in a dialogue with the world’s established and emerging theater artists. Strengthening its reputation as a leader in cultural diplomacy, CST partners regularly with respected international affairs organizations, including the Chicago Council on Global Affairs, Chicago Consular Corps, Chicago Sister Cities and World Business Chicago.
"Chicago Shakespeare's international exchange is a great asset to Chicago and enhances the city's global reputation," said World Business Chicago President Rita Athas. "Chicago Shakespeare Theater is making important connections and these efforts contribute greatly to the global city we continue to build."
Since the inception of the World’s Stage Series in 2000, Chicago Shakespeare has imported international productions ranging from pedestrian-based live art events ( Australia’s one step at a time like this ) to grand aerial and water spectacles ( France’s Compagnie Transe Expressand Ilotopie ); to iconic theaters such as Shakespeare’s Globe (London), the Maly Drama Theatre  (St. Petersburg) and La Comédie-Française (Paris). As a leading cultural ambassador, Chicago Shakespeare has presented its work at the Royal Shakespeare Company ( Stratford-upon-Avon ), The Donmar Warehouse (London), on tour in Germany and Australia, and this past spring, was among the 37 international companies that came together for an unprecedented 37-play “Globe to Globe” festival for the London 2012 Cultural Olympiad.
2013 World’s Stage Series:
Belarus Free Theatre’s
Minsk, 2011: A Reply to Kathy Acker Performed in Russian with projected English translation January 30–February 3, 2013 | Upstairs at Chicago Shakespeare
text by Natalia Kaliada with Nicolai Khalezin | directed and adapted by Uladzimir Shcherban
Belarus Free Theatre returns to Chicago following its widely acclaimed 2010 production ofBeing Harold Pinter . Now, one of the world’s most provocative and inspiring companies presents a new work entitled Minsk, 2011: A Reply to Kathy Acker . In a sexually repressed society,Minsk 2011 laments for the city that has lost its way, pining for a beloved home that has turned ugly and for a people who cannot express themselves. Belarus Free Theatre was founded in 2005 in Europe’s last surviving dictatorship, and the company is one of the most outspoken critics of Belarus’ repressive regime. Despite the loss of jobs, freedom and home, the company continues to develop award-winning work with the support of artists and theater companies around the world. Tickets are on sale now for $20.
World Premiere of Cadre 
Chicago | February 15–23, 2013 | Upstairs at Chicago Shakespeare
Johannesburg | March 18–April 14, 2013 | The Market Theatre of Johannesburg
written by Omphile Molusi
Chicago Shakespeare and the The Market Theatre partner to present the world premiere of Cadre in Chicago and Johannesburg. South African artist Omphile Molusi ’s play is inspired by true events in the life of an activist during, and after, the Apartheid era. Following Molusi’s internationally acclaimed production Itsoseng, presented by Chicago Shakespeare in 2010,Cadre explores the life of a former soldier in the Azanian People's Liberation Army who struggles with feelings of disappointment and betrayal in his quest for democracy. Bordering between present-day South Africa and its turbulent past, Cadre is a story of dreams and change, honoring families, friends and all the unsung heroes who died hoping for a better futureMolusi, one of South Africa’s leading young theater artists, was the first recipient of the Royal Shakespeare Company/Baxter Theatre Brett Goldin Bursary Award, which earned the young playwright a life-changing scholarship to study with the RSC in Stratford-upon-Avon. Presented with Richard Jordan Productions in association with The Market Theatre of Johannesburg and the Adelaide Festival of Arts. Tickets are on sale now for $20.
American Premiere of Roadkill 
Chicago | May 11–26, 2013 | Location TBD
New York | June 4–30, 2013 | Location TBD
text by Stef Smith | conceived and directed by Cora Bissett
Following sold-out runs in London (where it received the Olivier Award) and Paris, Roadkill has its American premiere in Chicago. Based on the real-life experiences of a young woman trafficked from Nigeria, Scottish writer/director Cora Bissett's critically acclaimed, site-specific theatrical and multi-media event explores the terrifying complexities of human trafficking. Transported by mini-van to an apartment in a Chicago neighborhood, audiences will come face-to-face with the brutal and hidden truth behind the newspaper headlines—sharing the intimate, harrowing details of a young woman trapped in a living nightmare. Roadkill premiered at the 2010 Edinburgh Festival Fringe and was the first production in history to win every major theatre award of the Festival, as well as a special Amnesty International Freedom of Expression Award.The British Council partners with CST in Chicago and St. Ann’s Warehouse in New York City to create a public program that engages local partners with a vested interest in the eradication of sex-trafficking, exploring the impact of this issue on these two important American cities.Presented with Pachamama Productions and Richard Jordan Productions in association with Traverse Theatre.
Piccolo Teatro di Milano’s
American Premiere of Inner Voices

Performed in Italian with projected English translation
June 25–29, 2013 | Courtyard Theater
by Eduardo De Filippo | directed by Toni Servillo
Chicago Shakespeare joins the Italian Ministry of Cultural Affairs and Italian Cultural Institute of Chicago to commemorate the Year of Italian Culture in America with the American premiereof Inner Voices, a production by one of Italy’s most important theaters, Piccolo Teatro di Milano. The Piccolo was last in Chicago in 2005 when CST presented Arlecchino, Servant of Two Masters. In collaboration with Théatre du Gymnase, Marseille on the occasion of Marseille Capitale de la Culture 2013, The Piccolo will debut Inner Voices written by Eduardo De Filippo , one of the most translated and respected Italian writers in the world. Written in 1948 as a reaction to the post-war period, the characters of Inner Voices move against the backdrop of the wreckage of World War II– with startling relevance to the rubble of today’s economic crisis. Following his successful production of Goldoni’s Vacation Trilogy at New York’s Lincoln Center Festival, acclaimed Italian director Toni Servillo will stage Inner Voices in CST’s Courtyard Theater.Produced by Teatri Uniti/Piccolo Teatro di Milano in association with Teatro d’Europa and Teatro di Roma.
For more information or to purchase tickets, contact Chicago Shakespeare Theater’s Box Office at 312.595.5600 or visit the Theater’s website at

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