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COMPAGNIA SCHEGGE DI MEDITERRANEO
FEDRA DIRITTO ALL’AMORE
PHAEDRA THE RIGHT TO LOVE
written by EVA CANTARELLA
with GALATEA RANZI
directed by CONSUELO BARILARI
dramaturgical consultant MARCO AVOGADRO
light designer LILIANA IADELUCA
music ANDREA NICOLINI
video editor ANGELA DI TOMASO
property PAOLA RATTO
final song by CARMEN CONSOLI
organizer GIANLUCA DE PASQUALE
Fedra Diritto all’Amore wants to explore the Ancient Classical Theatre in a new
way of dramaturgy: it’s a multimedia show created after a long and deep research
on the new theatrical languages.
In this new play, Eva Cantarella (the playwright) wants to actualize the classical
mythology: Phaedra is a character who brings, on one hand, the richness of the
Hellenic World, and, on the other, the complexity of the modern and contemporary
world.
Fedra Diritto all’Amore is not the classical theatre monologue: videos, lights and
sound interact with the actress on the scene. The play is conceived as a multimedia
show in which every single detail, video, sound and music, and light, is the
instrument that bring to life each part of the story.
The performance space of the actress is closed between two tulles on which the
videos are constantly projected: the first tulle is on the front as the “fourth wall”, the
second is behind as backdrop.
The actress Galatea Ranzi is alone in this multimedia space calling up all the
characters of the drama: Hyppolytus, Theseus, the Minotaur, Arianna, Pasiphae,
they all appear on the scene thanks to videos, lights, and off screen voice and
sounds and also the body of the actress.
The scene is completed by two important scenographic elements, inspired by Savinio’s and Dalì’s abstract art.
Hitchcok’s noir filming universe is evocated in the play: the
show is inspired in the images and atmosphere by Jules
Dassen’s Phaedra by with Melina Mercuri and Anthony Perkins.
The playwriting and staging are strictly connected to the
emotional use of videos, lights and sounds. The show aims to
involve the audience as in a cinema hall.
Galatea Ranzi plays the leading role of Phaedra, “The Bright
woman" (that’s the meaning of the name Phaedra).
The New Phaedra is now a polyhedral character: she’s in love
with Hippolytus, her stepson, and she’s aware and conscious of
this situation. She’s a rebel: she is ready to challenge the moral
condemnation by her family and society, to defend her freedom and her right to love. It is not about fate or
fault: Phaedra decides to break the moral rules. She’s beautiful and mysterious, she’s loved and respected:
with her own death Phaedra claims the right to love and she becomes the paladin of women’s freedom.
Eva Cantarella is an Italian classicist.
She is professor of Roman law and ancient Greek law at
the University of Milan, and has served as Dean of the Law
School at the University of Camerino.
She is known for examining ancient law by relating it to modern
legal issues through law and society perspective. She has
researched subjects involving the legal and social history of
sexuality, women's conditions, criminal law and capital punishment.
She also teaches and lectures at many universities in Europe and
the United States. She has been appointed Global Professor at New
York University Law School.
This new and modern Phaedra, written by Eva Cantarella and
inspired by different sources in classical and modern literature (Euripides, Seneca, Jean Racine and
Gabriele D’Annunzio), sets up an important point of view about women’s condition in ancient Greek world,
relating it to modern society.
The text of the play came from a study on two Euripides’ Tragedies: Hippolytus Kalyptomenos - Hippolytus
Veiled (now mostly lost-we have only few fragments) and Hippolytus Stephanophoros - Hippolytus who
wears a crown
The character of Phaedra is different in these two tragedies.
Euripides first treated this myth in Hippolytus Veiled . He portrayed a shamelessly lustful Phaedra who
directly propositioned Hippolytus to the displeasure.
Euripides' failure to maintain the audience approval prompted him to revisit the myth in Hippolytus
Stephanophoros. The surviving play offers a much more even-handed and psychologically complex
treatment of the characters than is commonly found in the retelling of myths: a modest Phaedra who fights
her sexual appetites.
The starting point of Phaedra – The Right to Love is this difference between these two characterization.
Galatea Ranzi is one of the most important theatre and cinema actress in
Italy and Europe.
She was the leading actress in Luca Ronconi’s King Lear, A Dream Play,
Lolita, What Maisie Knew, The Bacchae (by Euripides) and Prometheus Bound
by Aeschylus.
She acted in several Italian movies: The Great Beauty, by Paolo Sorrentino,
the movie won Best Foreign Language Film Oscar at the 86th Academy
Awards.
She was also in: Caterina va in città by Paolo Virzì, Il pranzo della domenica by
Carlo Vanzina, La vita che vorrei di Giuseppe Piccioni, Tre metri sopra il cielo by
Luca Lucini.
In 1988 she won Ubo Prize as best young actress. In the same year she
received an honorable mention for the Eleonora Duse Prize. In 2012 she won
Eleonora Duse Prize as best actress.
Consuelo Barilari, director.
She’s the founder and Artistic Director of Festival dell’ Eccellenza al Femminile
(Women Excellency Festival) that received 4 GOLD MEDALS BY ITALIAN
REPUBLIC PRESIDENT GIORGIO NAPOLITANO for cultural and theatral
activity carried out for the esteem of Women in every sector of society.
From 2003 she creates and produces theatre shows, on Mediterranean themes
and women culture.
From 2006 she is director and producer for several theatre shows: I Templari.
Ultimo atto (The Templars – the Last Act) with Paolo Graziosi and Sergio
Romano, that was also on national italian Television - RAI 2; Matilde di Canossa
with Manuela Kustermann and R. Alinghieri; Le Crociate viste dagli Arabi
(The Crusades seen through Arab eyes) with Elia Shilton and an international
cast of 22 performers (which won the Eurpean Project
Shards of
Mediterranean); Federico. Notte di presagi (Frederick II. Night of Omens) with
Paolo Bonacelli; Io Federico (Me, Frederick) with Massimo Venturiello; Albert
Camus e Jean Grenier. La fortuna di trovare un maestro (Albert Camus and
Jean Grenier. Lucky to find a teacher) with Flavio Parenti and Roberto Alinghieri; The Duchess of Malfi by
J. Webster with Marangela D’Abbraccio and Toni Bertorelli; in 2012 Camille Claudel by Dacia Maraini
with Mariangela D’Abbraccio; The Fool in Shakespeare by Masolino D’Amico co-produced with Globe
Theatre in Rome directed by Gigi Proietti.
Fedra Diritto all’Amore made its debut in Theatre of Chiasso (Switzerland) in April 2014. After a brilliant
summer tour 2014, with shows in Rome (The Soloist of Theatre Festival – I Solisti del Teatro), Marche
Regional Theatre Circuit (in Urbisaglia, TAU Festival), Campania Region (Velia Theatre Festival) and
Reggio Calabria (Contemporary Myths Festival), Fedra Diritto all’Amore run for three nights in Teatr Nowy
in Cracow, Poland, as Italian Culture ambassador in Poland, during the Week of Italian Language in the
World (20th – 25th October 2014).
In the last theatre season Fedra Diritto all’Amore was in Milan, Franco Parenti Theatre, from 5th to 16th
November 2014, then in Naples, Galleria Toledo Theatre, from 25th to 30th November 2014, in
Mondavio, Marche Regional Theatre Circuit for a project with high school students, then again in Rome
and Volterra for summer tour 2015.
Schegge di Mediterraneo
Via al Ponte Calvi 6/1 - 16124 Genova ITALY
tel. 010 6048277 - 0105 8540845
Direzione Artistica: Consuelo Barilari – mob. +39 347 4189359
[email protected]
www.eccellenzafemminile.it