“Some people claim that direction is dead. For us, this is clearly not the case and, indeed, we feel a very strong need for it, as well as for good scripts and good actors.
Other people (plenty of them) claim they don’t care about politics: all politicians are the same, all corrupt and the ones that aren’t yet, soon will be.
But we care very much. For us it’s important to assert a cultural act that can be made ‘political’ at every turn.
And this is why we decided to tackle Sophocles’ Antigone, and to entrust its direction to Gigi dall’Aglio.
Gigi dall’Aglio because he’s a maestro, and that’s enough for us. This is one of the most significant encounters of our personal and artistic education.
Antigone, because it encapsulates all the pain, all the contradictions, all the questions (and the hopes) that were dumped on us following the town hall’s decision to close Teatro Ringhiera. It was like finding ourselves face to face with the corpse of Polynices. A theatre closes for safety reasons; but a closed theatre is a dead body, abandoned to the ravages of time.
In Antigone, the private and public dimensions coincide, and the stakes are high: the inviolable nature of a corpse. Choosing Antigone and entrusting it to a great director means nourishing our political conscience, becoming a little more aware and therefore less powerless or manipulable”.
“The contemporary meaning of Antigone lies in the nature and the dialectic form of debate.
This is not a confrontation between positions of power. Antigone offers no political solution to Creon, but is the announcement that a political theory, ripened in the rules of thought and expressed through the sanctity of words at the very moment it takes shape in the Greek city, finds that its completeness is manifested solely thanks to its aporia.
What can I ask of actors, music and scriptwriting if not to contribute, each with their own political input, in order to uncover the origin of this debate, which remains unresolved to this day?
It’s a debate on the devastating need of humans to come together, to struggle, confront each other and choose their own destiny.
The miracle is that when this heated debate was created for the theatre more than two thousand years ago, it came at the very moment when the society engaged in it was debating the techniques of thought, the disturbing responses of philosophy, the mechanisms of dialectics and the social and political ways of coexisting.Preview Changes (opens in a new window)
On today’s stage the responsibility falls to those who inhabit it, to make the effort to identify with the original words and bring them simply and clearly to the potential that those words can still offer when they shed light on the harshness and ambiguity of the challenges we are still facing.
With Antigone, the actors can truly live in the knowledge that theatre constitutes a remedy for the arrogant temptations that arise in the conflict between rules and tradition, between reality and unreality, between democracy and its alternatives”.