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Le Baccanti

by Euripides

LARGE THEATRE 14 Luglio 2017   16 Luglio 2017
Large Theatre, 1 Gennaio
Large Theatre, 1 Gennaio
Large Theatre, 1 Gennaio

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14/07/2017
15/07/2017
16/07/2017

LE BACCANTI/THE BACCHAE

by Euripides
adaptation and direction Andrea De Rosa
with Marco Cavicchioli, Cristina Donadio, Ruggero Dondi, Lino Musella, Matthieu Pastore, Irene Petris, Federica Rosellini,
Emilio Vacca, Carlotta Viscovo 
and with the students of  the School of Teatro Stabile di Napoli Marialuisa Bosso, Francesca Fedeli, Serena Mazzei
set design Simone Mannino
costume designer Fabio Sonnino
lighting designer Pasquale Mari
sound designer G.U.P. Alcaro
music G.U.P. Alcaro and Davide Tomat
moviment Alessio Maria Romano
assistant director Thea Dellavalle
assistant set designer Giuliana Di Gregorio
stage manager Antonio Gatto
stagehand supervisor Enzo Palmieri
electrician supervisor Angelo Grieco
sound engineers Claudio Tortorici, Diego Iacuz
seamstress Francesca Colica
scenes making Retroscena
costumes making Cinzia Virguti
thanks to Massimo Fusillo, Davide Susanetti
the adaptation of the text is based on the traslation by Davide Susanetti published by Carocci Editore

 

the adaptation of yhe text is based on the translation by Davide Susanetti pubblished by Carocci Editore
production Teatro Stabile di Napoli – Teatro Nazionale, Teatro Stabile di Torino – Teatro Nazionale, Fondazione Campania dei Festival – Napoli Teatro Festival Italia

The Bacchae by Euripides is a text that challenges whoever attempts to stage it on a number of levels”, explains director Andrea De Rosa, “the first and most important challenge is that this is the only tragedy in which the main character is a god (Dionysus). How to portray him? How to bring a god on stage? Nietzsche wrote ‘God is dead’ more than a century ago and, in spite of the absurd religious wars that still appear on the horizon of our most recent history, that death sentence seems incontrovertible and conclusive. But what about what’s sacred? What about what’s mysterious? Are they dead and gone from our lives, too? How to make a god on stage look plausible nowadays, in a world that seems to have forever lost the sense of what’s sacred? Is theatre still the place where a god can be brought to life? where we can still hear his voice and, above all, still question him? Moved by these many questions, I chose to go after Dionysus, the god that has always fascinated us for his tight bond with the feeling of losing oneself and with the vertigo that follows. It’s a hard god to catch, fragile and contradictory, man and woman at the same time, weak and powerful, creative and destructive, but there is quite a lot at stake because he promises men – through wine, drugs, sex, death – permanent liberation from pain.”