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Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore
Edinburgh Fringe First Award 2012 for Writing Excellence
The Stage Award 2012 for Acting Excellence to Silvia Gallerano
Arches Brick Award 2012 for Emerging Art
Total Theatre Award 2012 for Innovation (Nomination)
Premio della Critica 2012 Miglior Spettacolo
Jury Award Giovani Realtà del Teatro 2010
Audience Award Giovani Realtà del Teatro 2010
Dodicidonne ATCL Lazio Award 2010 to Silvia Gallerano
Edinburgh Fringe Sell-out Show 2012 & 2013
Reumert Award 2015 for Best Actress to Danica Curcic
Prêmio Aplauso Brasil 2018 (Nomination) to Christianne Tricerri
Norwegian Hedda Award 2019 for Best Actress to Helga Guren
Best New Play for a non-Danish Writer 2019 Copenhagen Culture (Nomination)
***
‘Una obra sublime tan brutal.’
El País (Spain)
‘Extraordinary, uncompromising and entirely unforgettable. Rich, absorbing worlds that suck you in and shake you up, leaving you disorientated, disturbed and exhilarated’
★★★★ The Times (UK)
‘Um ato de revolta e libertade. Na sua ira discursiva, com verdades e delírio, o que surge é o ser humano entrevisto e retratado na alta literatura’
Estadão (Brazil)
‘Extraordinary, terrifying and hard to taste, hard to ignore. A piece so literally and metaphorically naked, raw and angry that you leave the theatre feeling as if you’ve had all your skin scraped off’
★★★★ The Guardian (UK)
‘Gallerano’s visceral performance will stay with you for years’
★★★★★ The Stage (UK)
‘Think Beckett on steroids. A furious stream-of-consciousness.’
The Georgia Straight (Canada)
‘Devastating stream of consciousness. One of the most wonderfully full–on performance ever seen’
★★★★ The Scotsman (UK)
‘È come entrare in un circo. La belva pronta, sul trampolo. Guarda, annuisce, ruggisce. Di fronte a lei, senza alcun riparo, tutti i domatori. La Merda, di Cristian Ceresoli, fra le decine e decine di premi, vinti in tutto il mondo, non è uno spettacolo. È un’esperienza. Assoluta. Quindici minuti di applausi finali. Imperdibile.’
La Repubblica (Italy)
‘Estamos falando da verdadeira revolução pretendida pelo cineasta Píer Paolo Pasolini’
★★★★ Folha de São Paulo (Brazil)
‘It is anti fascist as well as anti abuse; against people who play for power over others. Parts of this show are so politically incorrect that they come at you from unexpected angles. Certainly the whole piece is pushing boundaries of theatre in new ways.’
The Advertiser (Australia)
‘How a culture of celebrity feeds a returning tide of European neo-Nazism’
ABC (Australia)
‘Teater, der virkelig vil os noget’
★★★★★ Politiken (Denmark)
‘Brash, brutal, beastly, yet beautiful. Raw, touching, intelligent and mesmerising. Unforgettable.’
★★★★ The List (UK)
Utterly compelling verbal symphony. Somewhat perversely, the compelling honesty
of what follows is simply irresistible’
★★★★ The Herald (UK)
‘Il monologo rivoluzionario.’
Il Sole 24 Ore (Italy)
‘Una voce s’è desta. Un grido di dolore. Uno stimolo a liberare il nostro paese.’
L’Unità (Italy)
‘This is skin in the tradition of Artaud and it is powerful, political & poetic.’
★★★★★ Examiner (USA)
‘A manifest of anger and tenderness, a stand-up tragedija’
Ore (Lithuania)
‘Pragtfuld Silvia Gallerano sig i det mest forbløffende monolog-manuskript siden.’
★★★★★ GregersDH (Denmark)
***
‘Desperate and chilling, a fierce commentary on a society spinning helplessly towards barbarism; it blazes with the kind of poetic and theatrical energy that leaves audiences not depressed, but exhilarated and empowered.’
★★★★ The Scotsman (UK)
‘A play that surprises like surrealism and sounds like a symphony,
angry, passionate and compelling.’
Total Theatre (UK)
’An incredibly acted, grotesquely comedic and brutal journey
through a fascist, totalitarian landscape.’
★★★★ The Wee Review (UK)
‘A larger than life performance’
The Independent (UK)
Seductive & innocent.
★★★★★ Gregers (Denmark)
Violent and scary.
★★★★★ Ungt Teaterblod (Denmark)
Inevitable.
★★★★ Sceneblog (Denmark)
Strong and rhythmic.
★★★★ Kulturtid (Denmark)
2022
7 > 9 APRIL 2022 – MILANO, ITALY / MTM Teatro Litta – HAPPY HOUR
7 APRIL 2022 –BERGAMO, ITALY / Teatro Sociale – HAPPY HOUR
31 MARCH 2022 – CUNEO, ITALY / Teatro Tosetto – LA MERDA #10 YEARS
30 MARCH 2022 – ITALY / TBC – LA MERDA #10 YEARS
29 MARCH 2022 – ITALY / TBC – LA MERDA #10 YEARS
28 MARCH 2022 – ITALY / TBC – LA MERDA #10 YEARS
25 MARCH 2022 – TORINO, ITALY / Teatro Colosseo – LA MERDA #10 YEARS
22 MARCH 2022 – FIRENZE, ITALY / Teatro Puccini – LA MERDA #10 YEARS
18 MARCH 2022 – TRIESTE, ITALY / Teatro Orazio Bobbio – LA MERDA #10 YEARS
6 MARCH 2022 – ROMA, ITALY / Auditorium Parco della Musica – LA MERDA #10 YEARS
4 MARCH 2022 – NAPOLI, ITALY / Galleria Toledo – LA MERDA #10 YEARS
3 MARCH 2022 – BOLOGNA, ITALY / Teatro Duse – LA MERDA #10 YEARS
24, 25 FEBRUARY 2022 – MILANO, ITALY / MTM Teatro Leonardo – LA MERDA #10 YEARS
2021
31 JULY 2021 – PIOMBINO, ITALY / Contamina Festival – HAPPY HOUR
12 >14 MAY 2021 – GENOVA, ITALY / Teatro Nazionale – HAPPY HOUR
2020
17 > 23 AUGUST 2020 – Zoo TV / Edinburgh Fringe Festival – LA MERDA STREAMING
14, 15 FEBRUARY 2020 – MILANO, ITALY / Teatro Leonardo – LA MERDA SOLD OUT
5 SEPTEMBER > 17 OCTOBER 2020 – STAVANGER, NORWAY / Rolagand Teater – HAPPY HOUR (NORWEGIAN)
CANZONE AL VANGELO O AI BAMBINI BOMBARDATI IN PALESTINA
In loving memory of Federico Aldrovandi
I wrote this work before I wrote La Merda, but never completed it. Again it is a score, here more specifically a work where words are written to be sung and the story of the Son of Joy (who is praised and then nailed, with his mother being heartied by pain) is taken to listeners in the form of a feast.
A story (or poem) whose metric text is conceived to have a sung performance, this means that poetry is composed as if it were music and literature becomes a score for the singing and action of the interpreters who offer themselves to the humanity with the wild force of a concert. Where you embody the word and listen to the revolt. I choose to dedicate this work to Federico Aldrovandi, a boy killed by the Italian State.
In memoria di Federico Aldrovandi, ragazzetto ammazzato dallo Stato
Ho scritta quest’opera prima di scrivere La Merda, ma senza mai portarla a compimento. Anche in questo caso si tratta di una partitura, qui più specificamente di un’opera dove le parole sono scritte per essere cantate e la storia del Figlio della Gioia (che viene osannato e poi inchiodato, con sua madre che si strazia dal dolore) viene portata agli ascoltatori in forma di festa.
Una storia (o poema) il cui testo in metrica è concepito per avere un’esecuzione cantata, ciò significa che la poesia viene composta come se fosse musica e la letteratura diviene una spartito per il canto e l’azione degli interpreti che si offrono al consesso umano con la forza scatenante di un concerto. Dove si incarna la parola e si ascolta la rivolta. Scelgo di dedicare quest’opera a Federico Aldrovandi, ragazzetto ammazzato dallo Stato.
