Caricamento Eventi


dalle opere di Raffaele La Capria

Date da definire
date da definire


directed and interpreted by Claudio Di Palma
Scenes Luigi Ferrigno
costumes Zaira de Vincentiis
lighting design Gigi Saccomandi

music by Paolo Vivaldi

assistant director  Elena Cepollaro
assistant designer  Armando Alovisi
costume assistant  Elena Soria

stage manager Domenico Pepe , employer lights Ciro Petrillo,  engineer Alessandro Innaro,50D
driver  Alessio Cusitore,  phonic material Electric Emmedue
production Teatro Stabile of Naples
stage manager  Domenico Pepe , employer lights  Ciro Petrillo,  engineer  Alessandro Innaro,
driver  Alessio Cusitore,  phonic material Electric  Emmedue
production  Teatro Stabile of Naples

Director’s Notes

When you think about the work at La Capria it is the immediate reference to those his diving in the Gulf of Naples who could return in writing the impressive vitality of underwater fishing. Equally spontaneous becomes the reference to the subsequent tables family where symbolically the “catch”, pierced and cooked, seemed to allude to a ‘other (and possibly last) season of life. Literature and somersaults, theatrical story loosely based on the eponymous collection, is the dip that the banquet are still significant elements of dramaturgy. The dip, however, not as a natural destination the sea and the guests gathered around a long table, they do not have the precise contours of the Neapolitan bourgeoisie of mid-twentieth century. The dip is rather that, in articulating desired “deadly”, goes fast in the pool and the defendants to surreal coterie taking shape and sense only in the reflections of the only figure among their moves and speaks. A writer, but more properly a diver, who argues for their literature, the new barbarians, the humanities and inhumane. Kafka sat at the side of a terrorist, the years of lead, Joyce neighbor across the Montale, Camus next to Klaus Dibiasi and still LoPachin or Petronio diners are imaginary, but equally incisive in their indirect provocations. Words and thoughts seem to focus on literature. In fact the man and research shows similarities between writing and conducting a dive: “Without apparent effort, without search of ‘effect, turn flexibility …” and thoughts turn to the simple and solemn lightness of a particular dive , dreamed and never performed, “the inverted tense”: a kick to the moon in which the body reaches a suspension and unnatural stops only to fall in the gut blue pool. Then, at that time, the “maitre à penser” suddenly becomes Ciccio Ferraris Plunger yacht club Posillipo twenty-second at the Berlyn Olympics of ’36 and the table set is transformed into a platform from which to launch into flight to experience the thrill of Hybris .

Notes project

To continue to promote the “experimental” of space for the variety of proposals and research “in vitro” of new forms of scenic reduced, the Stabile proposed a second project in continuity with the one dedicated to Ortese imperniandolo on the works of another writer that so much of his production has dedicated in Naples, Raffaele La Capria.

From the lost harmony – in which the author describes the Neapolitan revolution of 1799, the deadly war between the city populace and educated middle classes – the five directors involved in the project will broaden their investigation stage on the issues raised by La Capria in his;other works on the city, such as nostalgia, the wound infertale from history and the brood at heart, the light and the darkness of reason, the heartbreaking loss of something that perhaps never was, but that you keep trying the tracks for life.