Week End, written by Annibale Ruccello in 1983, is the last drama of the trilogy Teatro da Camera (Chamber Theatre), that includes Notturno di donna con ospiti and Le cinque rose di Jennifer. As in others Ruccello's works, the plot deals about solitude, bewilderment and cultural eradication which, during the story becomes alienation in social issues as well as in private ones. It is mostly considered as the deepest and most perfect work by Ruccello, even if it is among the less staged ones - made exception for the 1986 edition directed by Ruccello himself with Barbara Valmorin, and the 1995 production directed by Daniele Segre and interpretated by Valmorin as well. Week End is a charming pastiche of everyday life, memories and unconscious impulses. it is about one Ida's weekend: she is a forty-year-old teacher with a physical disability (a foot malformation that lets her limp slightly). Ida lives in the suburb of Rome as she misses her native town near Naples. She comes from an ancient and mythological South which is nevertheless unhappy and unreleased. In these two grey days, Ida gives lessons to a clumsy student, she receives in her house a young plumber. She lives - or believes to live - with both men extreme and liberating sexual experiences, which eventually come to a sacrificial rite. Week End is a touching drama which strongly involves the spectator, thanks to the deeply moving emotions and the dramaturgical shape which hangs in the balance between dream and reality. Schedule


"The artist is a solitary wolf. He howls in loneliness. But this is not such a bad thing since he has the privilege of staying in touch with his own unconscious. He is capable of giving shape, style to his emotions. Making art is not therapeutic: it's a matter of survival. It guarantees your mental health. So you will not harm yourself nor kill anyone". Louise Bourgeois
Louise Bourgeois was an extraordinary woman and one of the greatest artists of the twentieth century. She was a lucid, mad, unconventional, rigorous, ingenious, humble, rare expression of femininity and art. Although she carried the signs of childhood abuse, of her profound sensibility, of the effects of two world wars, she was an unrelenting creator of intense, spine-chilling, grotesque, illuminating, striking sculptures. She is famous for the phalluses that she placed on the roof of her house and with which she poses in photographs, carrying them under her arm like a baguette or an umbrella; for the monumental spiders, under which we feel vulnerable and at the same time protected ("maman" as she called them); for the guillotines which she hangs over middle-class houses and their peaceful lives. She is an unconventional example of an artist, who oscillates between euphoria and depression, frantic activity and total stillness, creativity and reflection. And we perceive her as a totally amazing, sensational theatrical artist. This show leads us through her story and brings on stage the essence of this peculiar human being who embodies - at the same time - a woman, an old lady and a young girl. It gives shape - like bourgeois' sculptures - to fantasy, pictures, voices, sounds, thoughts that materialize from Louise's deep soul. These pieces come together and refer, in a delicate or dictatorial, allusive or open way, to the life of a fascinating, exciting woman. And quite a unique one. Duration: 60'.  Schedule


A funny tale played by Margherita Di Rauso as both Frevella and Cinniccò, a neapolitan couple who told the future to Hitler. The action takes place in 1938, when Adolf and Benito came to Naples, between a real submarine drill and a presumed esoteric visit to the Sybil from Cuma. In that context we find the two comic and nonsensical monologues of Frevella and Cinnicò. She is the typical Mediterranean burdening wife while he is a spineless and frustrated husband; in their ménage are there are also his antifascism and her mystical crisis. These crisis, even if allow her to tell the future, are also a Achilles heel that Cinnicò will use for his revenge on her and against the two dictators. He will offer them (of course with fee) a prophecy of the war defeat said by Frevella, hidden in the Sybil's cave (such as in an Indiana Jones' movie!). This play enchants the audience by telling the meeting of the two cruel dictators with the typical Neapolitan couple: the author uses a ludicrous, fairy-tale and paradoxical style and reworks the mythe of the Sybil from Cuma. In the end the story plays down about a tragic page in the annals of history: how Hitler and Mussolini could rise to power in their own countries, wihtout being recognised as fatal parody of themselves. Schedule


What is more provocative than a ghost story where a child is involved? That's easy: a ghost story where two children are involved, in an endless spiral of terror... this is the overlwhelm beginning of the best ghost story of all times, with extraordinary implications and distressing doubts. Luca De Bei, after the theatrical adaptation of "A simple heart" by Flaubert (with Maria Paiato playing Felicité), runs into the adaptation of the very well-known "The Turn of the Screw" by Henry James, brought many times to the big screen (among all "Suspence" with Deborah Kerr) and inspiring a grand opera by Benjamin Britten. Here the lead is a governess of a great English country mansion. She tells her terrible and extraordinary story: the two children she has to take care of have revealed some disquieting aspects. She suspects that they are possessed by the souls of the ex-governess and the domestic of the owner, both dead after a life of licentiousness and abuses. The governess' whole life will be spent to make sense of these perturbing circumstances. She is a complex character: she is a smart, passionate, determined and frail woman, very responsible but often in suspect of mythomania, totally committed to the research of truth and to the deep comprehension of reality. This woman has a desperate need of love and she is ready to face the most dreadful aspects in the human soul in order to obtain it. Schedule