«V’HAN CERTUNI CHE DORMENDO / VANNO INTORNO COME DESTI». STORIE DAL «MONDO DI IERI»

Mercoledì 2 febbraio

With Donatella Allegro, Michele Dell’Utri, Simone Francia, Diana Manea, Eugenio Papalia and Olimpia Greco playing the accordion

A reading and musical event that is part of the project Carissimi Padri… Almanacchi della “Grande Pace” (1900-1915), in collaboration with Fondazione Teatro della Toscana.

Cars, planes and zeppelins, photos in motion, magnificent shows and floodlit long nights…the belle époque’s dream! An epoch light and filled with enthusiasm, when the globe was described as one endless garden! A time meant for happiness and for the affirmation of Western men, freer and freer from ancient burdens and toils…a time, it seemed, devoid of deep thoughts and prudent reasons, at the mercy of dreams and insanity, ready to fall, unaware, in the nightmare of World War I, that would cause an entire generation of young Europeans to enter, at the first calls for total mobilization, the tremendous adventure in the trenches.

The relationship with one’s father, as we all know, is a rather complex issue. Love, fear, gratitude, hate, sense of duty, tenderness…it is a mixture, difficult to disentangle, we were born from. And the fathers, therefore, become “carissimi”(beloved): the object of deep affection, but also cumbersome, and in many ways, “expensive” figures.

About a hundred years ago, a violent blindness gave birth to us – or at least it defined some unmistakable traits of our face. World War I. A handful of years of a tragedy, played by operetta personages, to celebrate, in the bewilderment of a deep sleep, the last days of humanity. A generation of sons sent to be massacred and then… the world we live in today. Promoted by the Teatro della Toscana – Teatro Nazionale, the project Carissimi Padri… Almanacchi della “Grande Pace” (1900-1915) is a long journey, from February to Fall 2016, to try to figure out what brought about that distant decline, a decline that in a way bred us. A grotesque theatrical journey, from the blinding lights of the 1900 Universal Exposition to 1915 glorious May, to finally deal with our “Padri carissimi” – always bearing in mind that, as Brecht writes, “tragedy, more often than comedy, takes human pain lightly”. Within the project Carissimi Padri, the Museo Novecento between April and May will host two itinerant performances in the rooms of the exhibit.

The attendance is free while seats last and does not include the access to the museum.