After the success of The Taming of the Shrew, Andrea Chiodi returns to collaborate with the LAC, signing the direction of A Midsummer Night's Dream, one of Shakespeare's best-known texts. The new production sees on stage a cast of fourteen actors, many of them at their first major rehearsal after graduating from the Piccolo Teatro School in Milan.
"Reality and fantasy, Athens and the enchanted forest, Theseus and Oberon - says the director - everything in the play tells us of rationality and magic, of thought and ritual, always on a double track and above all always through the medium of almost childish play, of children's whims, of children's fears and above all of the ability to play at being other than oneself that only children seem to have and that in reality is often so desired even by adults. Perhaps the path that Shakespeare shows us is to get back in touch with the irrational, with the child that everyone has inside them."
Like a child's game.
I have wondered how a child looks at the world of adults and how an adult looks at the world of a child, I have wondered how reality and fantasy can be mixed in children's games and how reality and fantasy can be mixed in the thoughts of adults, I have also wondered how you can be just one thing in life and not multiple humanity, thoughts and desire to transform. And Shakespeare's Dream revealed many of these dynamics to me. One of the activities that make transformation possible in human life would seem to be creativity; the maximum of this creative and inventive activity finds its evident manifestation in play, and play is above all that of children. Here my Dream wants to start from here, from children's play, a play that becomes, however, very serious because it is capable of investigating the nature of man, capable of describing the stages of evolution of a human life, and Shakespeare does so, in the dream, taking us on a journey through the various stages of life: from childhood, the prologue, adolescence in the enchanted and complex wood, and maturity in the finale. Reality and fantasy, Athens and the enchanted forest, Theseus and Oberon everything in the play tells us of rationality and magic, of thought and ritual, always on a double track and above all always through the medium of almost childish play, of children's whims, of children's fears and above all of the ability to play at being other than oneself that only children seem to have and that in reality is often so desired by adults too. Perhaps the way that Shakespeare shows us is to get back in touch with the irrational, with the child that everyone has inside them. To narrate this I want to start precisely from the gaze of a child who can transform the play into reality and in the end make us believe that it was all a dream, but as we know, the play of dreams often tells us much more than reality itself. All this will be narrated with a cast of fourteen actors, an important operation, almost all of whom are very young actors who are perfectly suited to this reading and project.
of
William Shakespeare
translation and adaptation
Angela Dematté
direction
Andrea Chiodi
with (in alphabetical order)
Giuseppe Aceto
Alfonso De Vreese
Giulia Heathfield Di Renzi
Caterina Filograno
Igor Horvat
Jonathan Lazzini
Sebastian Luque Herrera
Alberto Marcello
Marco Mavaracchio
Cristiano Moioli
Alberto Pirazzini
Emilia Tiburzi
Anahì Traversi
Beatrice Verzotti
scenes
Guido Buganza
costumes
Ilaria Ariemme
music
Zeno Gabaglio
lighting design
Pierfranco Sofia
coaching
Tindaro Granata
assistant director
Walter Rizzuto
assistant dramaturgy
Gianluca Madaschi
scenes realised by the
Bruno Colombo and Leonardo Ricchelli" Scenography Workshop of the Piccolo Teatro di Milano - Teatro d'Europa
stage machinery realised by
Studio Cromo
costumes made at the
Compagnia Italiana della Moda e del Costume
production
LAC Lugano Art and Culture
in co-production with
CTB - Centro Teatrale Bresciano
Contemporary Art Centre Teatro Carcano
Fondazione Atlantide - Teatro Stabile di Verona
A pupil of Piera Degli Esposti, he graduated in law with a thesis on Greek tragedy under the guidance of Eva Cantarella. In 2003, he moved to Los Angeles where he attended several courses. In 2006 and 2007 he was assistant director to Gabriele Lavia at the Teatro Argentina in Rome.
He won the Alfonso Marietti prize of the Accademia dei Filodrammatici in Milan, the Emerging Talent Prize of Lombardy, the Golden Grail for theatre; his Bisbetica domata was selected at the Swiss Theatre Meeting 2018, he was a finalist at the Hystrio Prize and won the Mario Mieli Prize 2019.
He collaborates with a number of Italian and foreign cultural institutions: Teatro Due in Parma, Teatro Regio in Turin, Teatro Argentina in Rome, Teatro Coccia in Novara, Teatro Stabile in Brescia, Teatro Olimpico in Vicenza, Teatro Stabile in Catania, Teatro Carcano in Milan, LAC in Lugano, TNN in Nice, Opera in Monte Carlo and Teatro di Innsbruck.
He teaches at the Accademia dell'Opera in Verona, the school of the Teatro Stabile del Veneto and the Luca Ronconi Theatre School of the Piccolo Teatro in Milan.
He is resident director at the Teatro Stabile di Brescia.
09.09.2021
LAC, Lugano
Teatro Carcano, Milano
15–23.10.2022
Cineteatro Palladium, Lecco
25.10.2022
Teatro Biondo, Palermo
01–06.11.2022
Teatro Sociale, Brescia
08–13.11.2022
Teatro Sociale, Bellinzona
17–18.11.2022
Teatro Sociale, Como
24–25.11.2022
Teatro Municipale, Piacenza
29.11.2022
Cinema Teatro Boiardo, Scandiano
01.12.2022
Teatro Ponchielli, Cremona
10.12.2022
Teatro Comunale, Russi (Ravenna)
12.12.2022
Teatro Nuovo, Verona
13–18.12.2022
Teatro Guglielmi, Massa
20–22.12.2022
Stage photos
