Gabbiano is a classic of fierce and light topicality, a text about unresolved humanity, the society of spectacle, wealth and the banality of the intellectual condition. A drama that Carmelo Rifici directs with an important cast of actors thanks to the productive support of the Piccolo Teatro di Milano - Teatro d'Europa and the Teatro Sociale di Bellinzona.
A young thespian full of doubts about the necessity of doing theatre today, a famous writer who questions himself about the necessity or otherwise of writing, an ambitious young woman who dreams of success, a successful woman who does not dream, a humanity that wants to be a character, characters that are reflected in a lake that shows their miserable humanity, in a drama of missed acts, of sketched gestures, of crossed destinies, of elementary and unbearable passions. Chekhov gives us a story of dreams, of self-deceptions, of lives made up of writing, theatre, literature, of ordinary imaginary lives...
by
Anton Čechov
directed
Carmelo Rifici
sets
Margherita Palli
costumes
Margherita Baldoni
music
Zeno Gabaglio
lighting
Jean Luc Chammonat
with
Fausto Russo Alesi, Giovanni Crippa, Ruggero Dondi, Mariangela Granelli, Igor Horvat, Emiliano Masala, Maria Pilar Pérez Aspa, Giorgia Senesi, Anahi Traversi
and with the loving participation of
Antonio Ballerio
production LAC Lugano Arte e Cultura
in collaboration with Piccolo Teatro di Milano - Teatro d'Europa, Teatro Sociale di Bellinzona
Why choose to be a seagull? This is the question I keep asking myself, to which I have no answer. Firstly, it is a Classic and this allows me to work on the memory of a text that I have always loved, on which I have always worked, on which I have made hundreds of hypotheses, which change and contradict each time. Secondly, I have to say that Gabbiano talks about things that everyone knows: about family relationships, conflicts and disappointments, without being aware of them. Entering a familiar world and seeing that each time it shows you something you hadn't noticed gives you the curious feeling of visiting a universe that is known and, at the same time, mysterious: “Chekhov is so simple that it is frightening”, said Gor'kij.
Seagull is truly a mysterious text: it shows us a humanity, a family that never manages to be sincere and that, in order to manage to live together, must constantly lie and imagine itself to be something it is not. However, the moment something is imagined, does it not become true? In Seagull , everyone represents themselves, indeed they are all obsessed with representation. They strive to live a life that is not their own and attempt to eternalise it, to make it a continuous present. Is it not because they are desperately trying to stop life and block out within themselves the sinister desire to want to get out, to fly away to be part of something bigger? Kostantin, in his text, speaks of a universal soul that encompasses everything; the doctor Dorn speaks of humanity's destiny to rejoin, sooner or later, a whole. Nina says: 'They think I want to be an actress, but I am drawn to the lake, like a seagull. ‘The spirit is also made of matter,’ says Maestro Medvedenko.
Theatre and mystery, truth and dream. It is no coincidence that the protagonists are actors, writers, directors, and the humanity that revolves around them, made up of peasants, workers, dream of nothing but being actors and writers. Obsession of self-representation. The characters act on a stage that is mirrored in a lake that in turn shows their miserable humanity and inability to fly high. The lake draws them downwards.
11-12.11.2015
Teatro Sociale, Bellinzona
12-24.01.2016
Piccolo Teatro, Milano
27-28.01.2016
Teatro Goldoni, Venezia
02-03.02.2016
Teatro Comunale, Vicenza
05.02.2016
Teatro Alfieri, Asti
09-16.02.2016
Teatro Dante Alighieri, Ravenna
11-14.02.2016
Teatro Storchi, Modena
16.02.2016
Teatro Sociale, Lecco
18-19.02.2016
Teatro Due, Parma
23-24.02.2016
Teatro Ariosto, Reggio Emilia
27.02.2016
Teatro dell’Aquila, Fermo
Stage photos
