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Piano for sale

The show

It is the night of the Epiphany, a festive evening in Bellano.
“The Pianist”, so called because of his long, tapered hands, gets off the train.
It’s raining, it’s cold.

Examining the districts waiting for the crowd, the Pianist stumbles upon a sign posted on a door: “Piano for sale”.
Intrigued, he decides to enter: he will find himself living an experience that will change his life forever… Piano for sale is the story of a thief who has to choose between good and bad deeds: black and white, like the piano keys.

The gestures he will find himself making reveal a great desire to redeem his humanity.

In the background, in an almost mysterious dimension, there is an entire community, a country suspended – for one night – between legality and illegality, between licit and illicit, between ethical commandment and habit.

The theatrical version of Piano for sale will try to use the evocative power of the word, entrusted exclusively to the talent of a single actor called to give voice and body to all the characters in the story.It will also exploit the power of music, composed especially for this show, to restore the suffused atmospheres and the shadows of this novel, perpetually poised between dream and reality, without forgetting the dazzling flashes of its humour.

A co-production of the Fondazione Aida and ARS CreazioneeSpettacolo, with AndrianoEvangelisti, original music by Patrizio Maria D’Artista and directed by RaffaeleLatagliata, who worked closely with Vitali, who for the first time transpose by himself the dramaturgy of one of his novels.

To embellish everything, immersing the representation in an atmosphere of dream, the music of Patrizio Maria D’Artista, artistic producer, composer and arranger who has already signed the soundtrack of several theatrical and television works.

You can listen to the music onSpotify ,AppleMusic and on other music streaming platforms.

Piano for sale is the story of a thief who has to choose between good and bad deeds: black and white, like the piano keys.
A show based on the best seller of the same name by Andrea Vitali, with Adriano Evangelisti under the direction of RaffaeleLatagliata.
You can listen to the music on Spotify , AppleMusic and on other music streaming platforms.

Venetian words

The show

With the word begins the history of humanity and so our show: a story between the serious and the amused of what the word has meant and means and in particular the word of the Venetian dialect or the different dialects of Veneto. Because the word, which as children was given to us by our mother with lullabies or nursery rhymes, we then used to understand how the world is made and then again to try to explain that world to others and to us.

Someone has also used it and uses it to convince, others to seduce, some to amuse, others to excite, some to hurt, others to heal. However, the word is there to allow us to communicate. And from our particular Venetian tradition – as in many local or regional traditions – there comes the testimony, from the earliest times, both from the oral and literary tradition, of a “vulgar” word (in the etymological sense of the term) that often had to clash with the language, first Latin and then Italian (if not with other languages), therefore with the “cultured” word.

“The dialect,” explains Pino Costalunga, director and performer, “in this encounter with ‘language’ still produces mixtures that are sometimes so explosive that they can transform in the wildest comedy, but often also in art, sometimes even in the highest art of poetry”.

Then is from this encounter / clash that the language has changed in our families: at the table the ‘goti’ were transformed into ‘biceri’ (glasses), the ‘pironi’ into ‘forchette’ (fork) and the soup was no longer eaten with the ‘sculièro’, but with the ‘guciaro’ (spoon). If our grandfather had the ‘fiovra’, we children would get the ‘febbre’ (a fever).

Thus, through a cheerful journey into the childhood memories, and beyond, of the actor / author who grew up among Venetian words, the tragicomic experiences of his first relationship with the Italian language (and later with other languages he has faced) arise.

Thus amusing registers of misunderstandings and mispronunciation are touched (think of the whole range of popular and reinvented prayers); the result is a show that lightly and joyfully touches the fundamental theme of what our language is and therefore who we are.

The songs of the Piccola Bottega Baltazar spice up the evening with their original music, as well as drawn from the repertoire of authors who have also dealt with this topic.

The Caregiver

The Caregiver, even if conducted with a light and often amused hand, with a structure of the story in “yellow”, if not “noir” tones, investigates the change in human relationships, the birth of new feelings, how this phenomenon of the arrival of Caregivers has also changed our concept of family in some way.

The show does not want to resolve a question or be a journalistic documentary, but it does want to offer themes to this debate and enter the discussion with a light foot and often amused as if to say that human relationships, family, people are entities continuously in phase of change and evolution and that everything in our life is made up of transformations and adaptations….

… And that everything, in order to be judged, must first be understood.Here, this funny and light-hearted show, with tones from time to time between “yellow” and “noir”, wants to offer a small piece to this understanding.

The show

Trento (but it could be any Italian city).

On stage: an old theater actor in a wheelchair and a caregiver who does not come from the East, but comes “from the west, indeed from the south-west” as she says in a line of the show, meaning Modena (but it could be any other Italian city).

Everyone carries within themselves a story, made up of happy moments, but also of regrets and resentments and these two stories, as is inevitable, sometimes meet and sometimes collide, bringing out the thoughts and desires of each of the protagonists, even the most hidden, sometimes creating understanding, but more often misunderstanding, if not bitter opposition.

She, Teresa, with the strength to live and the joy typical of a young woman, but who feels lost in a world that she does not understand, does not recognize as hers and that she struggles to accept, where the ability to compete and adapt, even to difficult situations are the most requested qualities, such as that towards all those women who come to Italy from foreign countries to do this job.

He, Giuseppe, with a history that is not entirely clear behind him, but which is revealed little by little as the show proceeds, as often happens in the theater, a place where he, an actor, has worked for a whole life.

And every now and then it can happen that everything doesn’t work, as it does at times in the theater, or that it works so wonderfully that it doesn’t seem to work.

Too cryptic? No: in the end everything will be clear, very clear and … finally you can have a good laugh.

… But you have to wait for the end of the story, as in any self-respecting thriller.

Stories and Myths of Europe – Cosmogony

The Legend of the Great Birth project uses the power of mythology to promote a common European identity. A show was created that includes elements from the mythologies of most European traditions (Greek, Nordic, Celtic, Dacian, Latin, Slavic), highlighting common elements and similarities rather than differences. This connection will allow the public to reflect on belonging to a common European identity. The myth that was chosen for the theatrical representation is the myth of creation (cosmogony), a theme present in all mythologies that contains various symbolisms. Mythology hides a deep past and at the same time shapes the future of every people.

Show

A poetic and delicate show that narrates with words, music and dance the legends about the creation of the world of the various European cultures in a show that will equip the audience with Wireless headphones.

Headphone audio will be accompanied by live interventions by the actors and specifically constructed visual theater scenes.

The show, by its very nature, is suitable for all open spaces that allow the concentration of the public: parks, arenas, villages (it can also be hypothesized in itinerant form). The company, after an inspection, will rethink the show by placing it in the chosen place and tying it to the existing architecture.

Mythology is part of the cultural heritage of Europe; the legends are handed down from generation to generation and form the basis of the identity of each country.