Carmelo Rifici returns to explore two Chekhovian texts that marked the founding stages of his career as a director: Tre sorelle and Il gabbiano. The latter has been rewritten by the young playwright Livia Rossi, who reinterprets it in the light of recent history, placing it in dialogue with the writings of Anna Politkovskaya and Svetlana Alexievich, both deeply involved in the narrative of war, and with Pushkin's Evgeny Onegin, a work that marks the origin of great Russian literature.

‘This diptych closes a phase of work in the field of education,’ explains Rifici. "It is a closure to be understood as an opening towards another way of imagining paths with young performers that does not envisage the finished form of a show.

What does it mean for young people today to work on Chekhov's repertoire while maintaining a lively dialogue with literature? Is it possible to translate great drama into a contemporary key without betraying it deeply? Can young actresses and actors play roles that are inappropriate for their age in terms of life experience and theatrical experience? Can we ask Chekhov to intervene in the question of Russia and Europe today? We were trained on the great Russian literature, whose great authors have always been fertile ground in theatre schools. What has changed today in light of the terrible consequences of a war between East and West?"