Great success for the comedy Lysistrata by Aristophanes and applause on the open scene for Lella Costathe protagonist of the show directed by Serena Sinigaglia who entertained and made the audience of the Greek theater of Syracuse reflect.
The new translation of Aristophanes’ text is by Nicola Cadonithe scene of Maria Spazzi, the costumes of Gianluca Sbicca, the music of Filippo del Corno, the direction of the Choir of Francesca della Monica and Ernani Malatta, the choreography of Alessio Maria Romano, the light design by Alessandro Verazzi.
In the cast led by Lella Costa Marta Pizzigallo (Calonice), Cristina Parku (Mirrine), Simone Pietro Causa (Lampitò), Marco Brinzi (Dracete), Stefano Orlandi (Stimodoro), Francesco Migliaccio (Filurgo), Pilar Perez Aspa (Stratillide), Giorgia Senesi (Nicodice), Irene Serini (Rodippe), Alde Ottabrino, (Commissioner), Salvatore Alfano (Chinesia), Didi Garbaccio Bogin (Woman Beota), Beatrice Verzotti (Donna Corinzia), Alessandro Lussiana (Spartan ambassador), Stefano deficiency (Athenian ambassador) and Giulia Quacqueri (peace). In the cast of the show also the students and students of the Academy of Art of the ancient drama.
“Lysistrata speaks of war. Or rather he talks about those who can no longer suffer or make war – are the words of Serena Sinigaglia -. The paradox of Aristophanes, centuries later, appears to me anything but a paradox: if the women of all the war fronts joined under the flag of peace, denying their husbands or their companions, would they not cease armed clashes and battles? But Lysistrata He also speaks of love, a secular, powerful, happy and playful love. These themes make Lysistrata Eternal and as such I tried to build, with my extraordinary collaborators, a show that had not defined a time, playing to mention the ancient and the contemporary continuously “. The characters move, as Maria Spazzi says” in a scene dominated by a large structure that recalls an ancient frame from which many wires start “.” The war situation in which we are at the beginning of the story is therefore evoked by the tangle of wires in the wires that cover the wires that they The scene -adds the scenographer of the show -. The pacification action of women is intended to unravel the tone to weave a “nice cloak for the people”, in which the threads are a metaphor for dialogue. The encounter and dialogue therefore, as an indispensable prerequisite for weaving peace “. The music of Filippo del Corno tell” differentiated acoustic sources that represent the two heterogeneous and apparently irreconcilable opposites, called to symbolically embody the two universes, female and male, who face in the lysist “while the costumes designed by Gianluca Sbicca are” passe -raid. Linked to an imaginary ‘ancient’ but at the same time also to our contemporary trying to bring this story of ‘female emancipation’ closer to the present day “. Finally, the movements of Alessio Maria Romano are designed both for peace that” will ask listening, will try to scream the fragility of his existence but also of the existence of whole humanity; A dancing divinity that will prove to be in its beauty and strength “both for the choir and the entire community that will live in the scene.” We will try to move the chorus – says Alessio Maria Romano – specifying that certain dance world can always remember, adherence to certain social stereotypes such as to game needs, relief and fun but also of courtship and seduction. We will seek our dance or rather the need, beyond the verb, to scream to the world, to the powerful, to women and men all our existence and our desire and unbridled need for peace “.
Lysistrata will remain staged until 27 June alternating with Oedipus in Colono of Sophocles directed by Robert Carsen and then go on Tourneé at the Grande Theater in Pompeii from 18 to 20 July and at the Roman theater in Verona on 11 and 12 September.
Tonight at the Greek theater also a particular initiative because the Foundation investigation hosted Employedthe awareness campaign against femicide and gender violence conceived in 2013 by Maria Andaloro. In addition to leaving an empty place among the spectators, at the theater also a station with the representatives of the Ipatia anti -violence center and of the “One one hundred thousand” Foundation.