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director: Pierre Benoit
starring: Hanna Schygulla
piano: Jean-Marie Sénia
excerpt from:Protocole de Reves (Dream Protocols)
screeplay: Hanna Meyer

Italy UK
PICCOLO TEATRO STREHLER -Largo Greppi - Milano | Info: (+39) 8488003

Info and booking : tel +39 848800304 Monday - Saturday fom 10 am to 6.45 pm. Sunday from 1 pm to 6.30 pm
Public transports
Tram: 3, 4, 12, 14
Bus: 57,61
Tube: MM2 Lanza


from 28 February to 5 March 2017


Piccolo Teatro Studio Melato
Serena Sinigaglia, a member of the Piccolo family, stages – together with Fausto Russo Alesi – the splendid chapter from the Karamazovs in which Dostoyevsky imagines Christ returning to Earth, to a Seville in the throes of the Inquisition, to be imprisoned by the Grand Inquisitor.
«I love the classics – explains Serena Sinigaglia –. I love important 1800s Russian literature because there people still dared to ask the question "why", they dared to take on important themes regarding existence. Who are you? What is mankind? What is its sense in the world? What is freedom? Is there order in chaos? Is atonement possible for mankind’s intrinsic violence? To abandon oneself to the reading of The Brothers Karamazov is to take a journey in time through mankind, within mankind. One man stands out among the others, or perhaps he is only a boy who is too mature for his years, the second of the Karamazov sons, the most tormented, the most human of all: Ivan. Mankind and all humanity seen through the eyes of Ivan Karamazov, our journey. The Brothers Karamazov according to Ivan, if you wish».

Tre sorelle

from 7 March to 19 March 2017


Piccolo Teatro Studio Melato
Emiliano Bronzino returns to Chekhov’s repertoire following the success of Uncle Vanya, produced by TPE for the 12/13 season and also presented at the Piccolo Teatro.
In Three sisters, the true heart of the writing lies in the things which are left unsaid, of which Chekhov allows us a glimpse, which are the true souls of the characters and which after more than a century show him to be an author with a depth of writing, a possible interpretation and a stage feel which is particularly up to date. A piece with many levels of “symbolic” interpretation, whose central theme is time, where the future is something to be dreamed of, but which always seems so distant and which can never be reached, while the only way out is a place of recollection, crystallised, of which the memory is faint and which lies completely relegated to the past. As Emiliano Bronzino writes: «In Three sisters, I have the clear impression that the characters do not exist, that the story told alludes to something else. One need only think of the continuous references, suggestions and strange allusive games that Chekhov sows throughout the piece. Of the strange sensation of an inevitability that in the end astonishes. Of the fact that none of the salient moments of the story take place on stage, but always off, in an undefined place and time. And above all of the strange fact that the staged action moves continuously from a level of reality to a level which is not governed by natural answers. In the end what remains are important questions regarding the meaning of life, and on that one must work, and work...».

Louise e Renée

from 21 March to 30 April 2017


 Piccolo Teatro Grassi
An all-female Balzac Sonia Bergamasco in the director’s chair, and the performances of Federica Fracassi and Isabella Ragonese bring life to the staging of a text that Stefano Massini has loosely based on Letters of two brides (1842), the only epistolary novel by the author of The human comedy.
“Fragments of a discussion on love - observes Sonia Bergamasco -. Louise and Renée are two young women tied by a profound friendship which goes right back to when they were young children, together in a convent. Their facing life “outside”, their return “home”, corresponds to the beginning of an exchange of letters which, over the years, continues their reciprocal search for a common alphabet of love. Brought together and isolated in the ardent voice of a present of the heart, the two figures of women imagined by Balzac still tell of the unstoppable impulse of desire and the sense of loss that daily adventures unavoidably bring to each and every human being”.
“On a ring of highly-polished cruelty - explains Stefano Massini -, the examination of what it means to be a woman is held, an examination on the contradictions of love, on the desperation of a denied sociality. An epistolary battle of questions and answers. A ruthless analyst of the human condition, Balzac - like few others - was capable of focussing the microscope on the female labyrinth. Here he provides us with a encyclopaedic treatise which proceeds by definitions, at times of an unheard of profoundness, to create the mosaic of a complex play, inspired by the fundamental nouns of the female condition, from “illusion” to “rape”, from “love” to “decadence”, and so on”.

Non ti pago
from 21 March to 2 April 2017


Piccolo Teatro Strehler
Luca De Filippo passed away as the applause was fading for his last show, Non ti pago, which was staged at the Teatro Strehler last November, and which was received with enormous enthusiasm every evening for two weeks. Luca De Filippo, unable to perform, was substituted in the lead role by Gianfelice Imparato, but the show was his and this is how the Milanese audiences perceived, understood and loved it. The Piccolo has decided to allow it to live beyond his memory: Non ti pago will return to the Teatro Strehler with its company in the Spring of 2017.
Non ti pago is one of the most brilliant comedies from the repertoire of Eduardo, which the great Neapolitan playwright himself defined “a very comical comedy which, in my opinion, is the most tragic I have ever written”. Ferdinando Quagliuolo, the manager of a lottery shop in Naples, doggedly plays without ever choosing a winning number. On the contrary his employee and future son-in-law Mario Bertolini, by interpreting his dreams, collects win after win, even managing to hit the jackpot with four numbers given to him in a dream by his boss’s late father. Blinded by raging jealousy, Don Ferdinando refuses to pay the win...

(I believe in only one God)
from 25 March to 13 April 2017


 Piccolo Teatro Studio Melato
Eden Golan, a professor of Jewish History. Mina Wilkinson, more or less covertly working for a foreign army. And lastly Shirin Akhras, a Palestine student. Their points of view meet and move apart among improvised and highly risky encounters and dizzying contrasts, at times almost reaching the rash thrill of perfect harmony. But fighting for the same side is not allowed on the chessboard where everything relies on contrast.

In a piece which runs on three narrative lines without intercommunication, the story feeds on echoes and references, convergences and contrasts, and after an unstoppable crescendo, it culminates in the purifying and cursed fire of the umteenth sacrifice. An important acting challenge for a mosaic of sensations, reflections and states of mind, represented in a puzzle of solitude, where nothing is more disturbing than the absolutely endless confrontation with ones own ideals and beliefs.

Bestie di scena

from 28 February to 19 March 2017


Teatro Strehler
In the circle of hell a group of souls atone for their sins: actor sinners walk a circle, entwined together, naked and slow; prisoners of convention, tics, collective neuroses, no longer able to leave the stage.

Bestie di scena took on its true meaning at the very moment that I gave up on the theme I wanted to take on. I wanted to speak about the work of an actor, their efforts, their needs, their total abandon, right up to the loss of the feeling of shame and in the end I found myself faced with a small community of primitive, bewildered and fragile beings, a group of “imbeciles” which, as an extreme gesture, present the spectators with their sweaty clothes, renouncing everything. This act of sacrifice was the starting point, a strange atmosphere was created, and stayed with us, and the play created itself.
In Bestie di scena there is a community on the run. Just like Adam and Eve banished from paradise, the beasts end up on a stage full of peril and temptation, a place of sin, the terrestrial world. There they find everything they need: the house, the playrooms, the path, the refuge in which to find shelter, fear, the sea, the shipwreck, the trench, the tomb before which to mourn the dead, the remains of a catastrophe...
The beasts of the stage do nothing but imagine. They convince themselves they are living, holding borrowed things in their hands, feeding on sludge, muttering scraps of stories. Just like children they believe in the games and, alienated from everything, they allow themselves to be enchanted until they are led to the excesses of dementia. They dance, they sing, they shout, they argue in southern dialects, they seduce, they go crazy, they love, they laugh, they fight...
In Bestie di scena there is a secret mechanism which reveals the process which leads to the birth and formation of an individual. He is in the centre, with his uncoordinated and wild movements, he creates paths which are more important than the destination, he looks for roads not yet travelled. He is the beating heart of the exercise, the foundation of the game, the focus for a possible understanding of what we are. Without stories to tell or costumes to wear, the beasts of the stage move clumsily, just like at the beginning of time, forcing us to lend weight, volume and dimension to our gaze. We are the ones who choose, right from the beginning, whether to welcome them or refuse them. The “imbeciles” who stand before us do nothing but instinctively take part in movements marked by the rhythm in which the muscles and reflexes are provoked and stretched to reach a state in which it is the body which thinks.
On the empty stage, in a black box delimited by a base and six wings, the mass of these souls intertwined in a silent circular march becomes the custodian of a secret. The way out is barred, signs of fire emerge from the wings and the beasts can no longer escape from this confine.
After facing various tasks, yet another command echoes from the wings, the last, and the most terrible. Only now do the “imbeciles” disobey. They decide to stand before us, naked. Their discovery will be that they have always been naked and that they have never been anything else. It will no longer make sense to pick up their clothes, cover themselves, and carry out other actions; but only to simply stand there, and look.
From Emma Dante’s director's notes

As the show contains scenes of full-frontal nudity, it is unsuitable for spectators under the age of 16.

TEATRO degli ARCIMBOLDI -viale dell'Innovazione, 20|Info:

Monday to Friday 10 am - 6 pm
+ (39)
Monday to Friday 10 - 18
Tel: + (39)

Public transports
Bus: 7 - Piazza Cairoli stop
Tube: MM1 Precotto + Tram 162



TEATRO MANZONI - via Manzoni, 42 | Info: + (39) 02 7636901

numero verde 800 914350
Lunedì - Sabato 10.00 - 19.00 - Domenica 11.00 - 17.00
Public Transports
Tram: 1, 2
Bus: 61, 94
Tube: MM3 Montenapoleone - MM1 San Babila - MM1 Palestro

Gianfranco Jannuzzo and Debora Caprioglio

from 9 March to 19 March 2017


by William Goldman
Ganluca Guidi and Giampiero Ingrassia  

from 23 March to 9 April 2017


credits: Teatro Strehler, Teatro Manzoni,BuzzPatrol
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