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Check FAQAbout Sergio
Sergio Lo Gatto is a journalist based in Roma, Italy. Born in 1982. Lives and works as a freelance theatre critic and cultural journalist in Rome/Italy. He is PhD Candidate in Theatre Studies at the Sapienza University of Rome, with a doctoral thesis in theories of criticism and digital philosophy. At Sapienza University, he holds a permanent workshop in Methodology of Theatre Criticism and Critical Writing. He is one of the founders of and Chief Editor for the independent daily web magazine Teatro e Critica. He contributed to major national newspapers, has been a member of the editorial board of the monthly magazine Quaderni del Teatro di Roma (published by the National Theatre in Rome between 2011 and 2015), he also reports for Tanz (Germany) and Plays International & Europe (UK). He is editorial assistant for Conflict Zones Reviews (international web magazine published by the Union of European Theatres – UTE / co-funded by Creative Europe). He’s one of the founders of WritingShop, a team of four writers from four different European countries that launched a program of itinerant residencies for critics, aimed at developing an international point of view on theatre and performing arts through an experiment of collective writing.
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How Everything Tends
Sergio Lo Gatto reviews 'Come ciò a cui tutto tende,' a theatrical performance by Valentina Beotti and Federica Principi, which addresses climate change through the metaphor of stranded whales and human responsibility. The play, supported by Fortezza Est, features Beotti's expressive body language, honed through her previous work with Ricci/Forte and Dante Antonelli/Collettivo Schwab. The review praises Beotti's mature writing and Principi's sound design, which together create a poignant reflection on the relationship between humans and the environment.
Review of Cordelia
In Bologna's vibrant AtelierSì space, a meticulous and bold experiment titled x-machine was conducted by Federica Amatuccio and Andrea Gianessi of Teatro dei Servi Disobbedienti. The performance featured a trio of performers and musicians, Federica Furlani, Jacopo Giacomoni, and Marco Puzzello, whose instrumental notes and dissonances intertwined with their physical movements amidst a crowded space of chairs. The production explored the concept of devices as a relationship of forces, knowledge, and power, reflecting on media as a threatening interface to the world and the progressive disappearance of reality. The performance was seen as a didactic parable, where human individuality is lost among mysterious algorithms, leading to a loss of the capacity to think.
Can we save the world before dawn?
The latest production by Carrozzeria Orfeo, 'Salveremo il mondo prima dell’alba,' offers a harsh critique of capitalist society through an overwhelming array of themes, which dilutes the depth and dimensionality of the narrative. The play, seen at Teatro Vascello in Rome and set to tour in Milan, features a diverse cast of characters in a space capsule setting, tackling issues from feminism to climate change. Despite its ambitious scope, the production struggles to maintain coherence and depth, often resorting to crude humor and clichéd characterizations. The review highlights the company's history of confronting societal issues but notes that this particular work lacks the necessary balance and depth to effectively engage the audience.
The Fault
In the post-apocalyptic fable 'The Fault' by French playwright Adèle Gascuel, characters Dan and Balt, portrayed by Daniele Amendola and Valerio Malorni, are confined deep within a fissure in the earth, tasked with pumping concrete in a now uninhabitable 'world above.' The play, directed by Simone Amendola, features a minimalist set suggestive of a landfill and employs a smoke machine to create a dense, metaphorical atmosphere. Despite the creative efforts and the actors' presence, the text's immaturity seems to prevent a deep exploration of collective wounds, resulting in a performance that pays homage to Beckett's desolation without matching its incisiveness.
LE SERVE (directed by Veronica Cruciani)
Jean Genet's 'Le Serve' is a powerful dramatization of a real-life crime, exploring themes of social slavery, poverty, and self-destruction. Directed by Veronica Cruciani, the play features a contemporary translation by Monica Capuani and strong performances, particularly by Matilde Vigna and Beatrice Vecchione. However, the direction suffers from excessive volume and monotony. The production, seen at Teatro Arena del Sole in Bologna, is noted for its meticulous care but falls short in addressing contemporary socio-political aspects.
WONDER WOMAN
The review of 'Wonder Woman' by Antonio Latella and Federico Bellini highlights the post-dramatic nature of the performance, focusing on semantic organization over syntax. The play features four young actresses delivering a powerful critique of societal and judicial failures, particularly in cases of sexual violence. The performance evolves into a symbolic and performative protest against social scripts, culminating in a feminist outcry. The production is noted for its intense and raw delivery, devoid of grotesque elements, and is described as a humanitarian prayer rather than a mere spectacle.
Fear of the Matador. Nostalgia for the Future
The Piccolo Teatro di Milano opened 2024 with 'Ho paura torero,' directed by Claudio Longhi and based on a novel by Pedro Lemebel, starring Lino Guanciale. The play, set in Santiago during the spring of 1986, revolves around the planning of an assassination attempt on dictator Augusto Pinochet by the patriotic front Manuel Rodríguez. It explores themes of love, oppression, and the Chilean people's struggle for freedom. The production is praised for its aesthetic coherence, political thought, and the performances, particularly by Lino Guanciale. The review by Sergio Lo Gatto highlights the play's importance in contemporary theater for sharing minimal tools with the audience to conceive an individual scenic order, reflecting on historical and narrative states of affairs.
The Truth, Please, About the Present. Conversation with Antonio Latella
Antonio Latella's latest theatrical work, 'Wonder Woman,' debuts at Teatro Astra in Turin, exploring themes of truth and societal issues through the lens of a super-heroine. The play, part of a trilogy including 'I tre moschettieri' and 'Zorro,' addresses contemporary ethical dilemmas and the role of theater in reflecting and challenging societal norms. Latella criticizes the cultural and political landscape in Italy, highlighting the ongoing issues of violence against women and the impact of capitalism on the arts. The conversation underscores the importance of theater as a medium for social commentary and the need for cultural institutions to take a stand on pressing issues.
Trilogy of the City of K. Fanny & Alexander in the Kristóf web
The 'Trilogy of the City of K.', produced by Piccolo Teatro di Milano and crafted by Federica Fracassi and Fanny & Alexander, is a profound theatrical project that delves into Ágota Kristóf's renowned work. Directed by Luigi De Angelis, the performance transcends mere adaptation, entering a realm of dramatic possession. The narrative, set in the Teatro Studio Mariangela Melato, explores themes of violence, war, and the brutality of childhood through a fragmented yet cohesive storytelling approach. The cast skillfully embodies multiple characters, with the sound design by Mirto Baliani and Emanuele Wiltsch Barberio enhancing the immersive experience. The production, while challenging in its complexity, is a calculated and deliberate exploration of the physical possibilities of theatre, offering an emotionally and politically charged journey.
ALICE! È TARDI
Returning to Lewis Carroll's classic, 'Alice! È tardi' by teatrodelleapparizioni is a scenic language experiment using glove puppetry. The play, set in a garden-like Wonderland, features a nuanced narrative with characters like Alice, the White Rabbit, and others. The production, directed by Fabrizio Pallara and co-written with Roberta Ferrari, is praised for its innovative approach, high-level manipulation, and layered discourse on the concept of time. The performance, supported by various Italian cultural institutions, showcases a blend of puppetry and plush toys, creating a unique and engaging theatrical experience.
Tomorrow's Parties (Forced Entertainment)
The review of 'Tomorrow's Parties' by Forced Entertainment, which debuted at the Romaeuropa Festival, highlights the imaginative and thought-provoking nature of the performance. Directed by Tim Etchells, the play features Marco Cavalcoli and Caterina Simonelli, with an alternative cast of Roberto Rustioni and Simona Generali. The Italian version, translated by Roberto Castello, explores various hypothetical futures for humanity, blending dystopian and consolatory elements. The production is praised for its precise and human dialogue, with contributions from a collaborative team including ALDES, CSS Teatro stabile di innovazione del FVG, and others.
Frankenstein by Motus. Of Post-Human Nature
Motus' latest work, 'Frankenstein (a love story),' seen at the Arena del Sole in Bologna and now at the Triennale di Milano, revisits Mary Shelley's classic novel through a contemporary lens. The performance, featuring Enrico Casagrande, Silvia Calderoni, and Alexia Sarantopoulou, explores themes of identity, societal acceptance, and post-human consciousness. The production is noted for its innovative use of visual and auditory elements, though some choices in text and rhythm may inhibit the full potential of the performance. The work continues Motus' tradition of blending political and ethical inquiry with dramatic art.
The Lucid Dream of Generation T. Enduring Love
The article reflects on the enduring creativity and diverse languages of Italian performing arts, highlighting the role of Centrale Fies in Dro as a hub for artistic experimentation. It discusses the evolution of the 'Generation T' of artists and the impact of Centrale Fies' curatorial approach, which has fostered a space for dialogue and evolution within the arts. The piece also describes the immersive experience of the Enduring Love event, where artists and audiences engaged in a shared, lucid dream-like state of artistic exploration.
In a Corner the Sky Surrenders... (by Robyn Orlin, with Nadia Beugré)
The performance 'In a Corner the Sky Surrenders' by South African choreographer Robyn Orlin, revived in 2022 with Ivorian performer Nadia Beugré, explores themes of uprooting and solitude in a post-pandemic context. The modular set, consisting of a large packing box, creates varying spatial experiences, while the performance itself critiques and deconstructs exotic and colonial approaches through a blend of popular and contemporary dance. The review highlights Beugré's explosive and sensual performance, and the production's critical examination of adaptation strategies and personal freedom.
Silvia Calderoni. From the Present to the Past
Silvia Calderoni discusses her creative journey from the project 'The Present Is Not Enough' to her debut novel 'Denti di latte'. The conversation delves into themes of memory, biography, and the intersection of theatre and literature. Calderoni and Ilenia Caleo explore queer relational practices through their work, emphasizing the importance of context and audience interaction. Calderoni's novel, influenced by her theatrical background, blends imagination with autobiographical elements. The upcoming Motus production 'Frankenstein (A Love Story)' is also highlighted, focusing on its political and narrative elements.
The Decline of Theater? A Reflection from B.Motion 2023
The article reflects on the state of contemporary theater, sparked by Franco Cordelli's critique of its cultural decline. It discusses the performances of Menoventi's 'Odradek' and Piccola Compagnia della Magnolia's 'Enrico IV' at B.Motion 2023, highlighting their innovative approaches and the broader debate on the relevance and vitality of modern theater. The author argues against Cordelli's pessimistic view, emphasizing the creative potential and expressive freedom of independent theater groups.
Art is in the Eye of the Beholder. OUT!
The article discusses the completion of FUORI!, a participatory public art project in Bologna, promoted by the Comune di Bologna and realized by Emilia Romagna Teatro ERT. Curated by Silvia Bottiroli, the project involved international artists and local adolescents in creating performances and installations that engaged with the city's public spaces. The festival aimed to foster dialogue on urgent social issues, including student mobilizations, political representation, and intergenerational communication. Key projects included 'Football Field' by Maider López, 'The Undercurrent' by Rory Pilgrim, and 'Body of Knowledge' by Samara Hersch. The festival emphasized the importance of public art in creating meaningful social interactions and highlighted the role of youth in shaping the future.
In Rome, the Dance Festival is free, open, and city-wide
Rome introduces a new event dedicated to dance, the Festa della Danza di Roma, featuring free, open-air performances and activities across the city. Curated by Fabrizio Arcuri and organized by the Assessorato alla Cultura di Roma Capitale, the festival includes a diverse range of artists and styles, emphasizing community engagement and accessibility. The event aims to blend artistic experiences with social functions, offering interactive and participatory performances. The festival also includes workshops on community dances and aims to foster collaboration with local cultural institutions.
Journey into the Black Hole. Three Sisters by Muta Imago
The Teatro di Roma hosted the national premiere of Muta Imago's adaptation of Anton Čechov's 'Three Sisters' at Teatro India in Rome. Directed by Claudia Sorace and dramaturged by Riccardo Fazi, the play features Federica Dordei, Monica Piseddu, and Arianna Pozzoli, who not only portray the titular sisters but also embody other characters' voices. The performance is noted for its intricate sound design by Lorenzo Tomio and its exploration of human conditions through a fluid and dynamic staging. The adaptation draws parallels with Muta Imago's previous work 'Ashes,' emphasizing the interplay between internal and external listening and the philosophical implications of human existence.
We are here to try. Between theater and cinema, exercises in disappearance
Siamo qui per provare is a documentary film by Greta De Lazzaris and Jacopo Quadri that captures the creative process behind the theater show Avremo ancora l’occasione di ballare insieme by Daria Deflorian and Antonio Tagliarini. The film, which premiered at the Giornate degli Autori during the Venice Film Festival 2022, explores the fragile art of creation and the relationship between cinema and theater. It presents a non-hierarchical narrative structure across three levels of reality: private life, rehearsal room, and the dramaturgy of the show. The film is described as a respectful and ingenious remediation of a complex system of relationships between people, biographies, scenic writing, and direction, highlighting the tenacity of art to protect its 'aura' and its necessary political function.
How Much Forgiveness Are You Willing to Endure? Conversation with Angélica Liddell
Angélica Liddell, a renowned Spanish author, director, and performer, discusses her latest work 'Caridad' and her artistic philosophy. She emphasizes the importance of pain, violence, and beauty in art, rejecting the need for positive messages. Liddell critiques modern art's subjugation to motivational messages and defends the role of extreme and irresponsible artists. She reflects on the significance of the body in art and the potential future of human evolution. The conversation also touches on the impact of other influential artists and the challenges posed by cancel culture.
Nottuari (directed by Fabio Condemi)
Nottuari, directed and written by Fabio Condemi and inspired by the works of Thomas Ligotti, is a theatrical production that explores existential horror. The play juxtaposes two stories, 'La Medusa' and 'Comunicazione prematura,' to delve into the morbid relationship between beauty and horror. The production features a visually rigorous and intellectually stimulating setup, supported by the soundscapes of Paolo Spaccamonti and Andrea Gianessi. While the performance is visually compelling and features strong interpretations, it sometimes loses its impact in overly structured aesthetic arguments. The play was performed at Teatro India in Rome.
THE COLLECTION (choreography by Alessandro Sciarroni)
Alessandro Sciarroni's 'The Collection' features ten performers from the Ballet de l’Opéra de Lyon executing a complex choreography that emphasizes repetition and resistance. The performance, seen at the Auditorium Parco della Musica in Rome for Equilibrio 2023, is noted for its intricate composition and the dancers' ability to maintain concentration and control. Despite a spectator's comment on the dancers' lack of freedom, the review argues that the performance clearly communicates the essence of being on stage.
The Story (by Marco Archetti, directed by Fausto Cabra)
The review discusses a theatrical adaptation of Elsa Morante's novel 'La Storia', directed by Fausto Cabra and dramatized by Marco Archetti. The performance, seen at Teatro Vascello in Rome, features Franca Penone, Alberto Onofrietti, and Francesco Sferrazza Papa. It explores themes of war and family, set against the backdrop of occupied and liberated Rome between 1941 and 1947. The production is noted for its intense pace and visual elements, though it occasionally distracts from Morante's refined language. The review highlights the actors' ability to shine when the direction allows for moments of stillness, emphasizing the power of spoken theatre.
Pasolini and the Silence of the World. Pilade by Giorgina Pi
The article explores the production of 'Pilade' by Giorgina Pi, part of the ERT project dedicated to Pier Paolo Pasolini. It highlights the interdisciplinary and independent approach of the Bluemotion group, the challenges of producing complex theatrical works, and the integration of contemporary elements with classical tragedy. The play addresses themes of social justice, the role of refugees, and the need for theatre to engage with the public. The article also discusses the influence of Antonio Gramsci, Carl Jung, and other intellectuals on Pasolini's work, emphasizing the importance of myth and its contemporary relevance.
Calvino at the Theatre. Chasing The Baron in the Trees
In celebration of Italo Calvino's centenary, the Piccolo Teatro di Milano presents an adaptation of 'Il barone rampante,' directed by Riccardo Frati. The production, running until February 5th at Teatro Grassi, has been well-received for its intricate and faithful representation of Calvino's work. The play, set in 18th-century Liguria, follows the story of Cosimo, a young baron who vows to live in the trees. The adaptation is praised for its mature staging, strong performances, and effective use of set and lighting design. The article highlights the timeless relevance of Calvino's literature and the importance of making such thoughtful productions accessible to wider audiences.
The Garden
The review discusses 'The Garden,' a theatrical performance by Fanny & Alexander, highlighting its symbolic use of the number seven and its exploration of pain and martyrdom. The performance, featuring Claron McFadden and Emanuele Wiltsch Barberio, is praised for its emotional depth and complex execution. The review also mentions the involvement of various artists and the production's journey from the Romaeuropa Festival to its final stop at Ateliersi in Bologna.
Elvira, the theatrical passion according to Strehler and Jouvet
The article discusses the ongoing tour of the play 'Elvira,' directed and performed by Toni Servillo, and highlights a fragment of Giorgio Strehler's 1986 production at the Piccolo Teatro di Milano. It delves into the historical context of the play, referencing Louis Jouvet's lessons at the Conservatoire de Paris and their impact on European theatre. The piece emphasizes the intricate connections between the characters and the essence of acting, celebrating Strehler's innovative approach to transforming lessons into a pedagogical spectacle.
Dance as the Poetic Nourishment of Man: An Interview with Virgilio Sieni
Virgilio Sieni, a renowned dancer, choreographer, and teacher from Florence, has been appointed as the Director of the Dance Section at the Biennale di Venezia for 2013-15. Sieni, who founded the Compagnia Virgilio Sieni, is known for his poetic and narrative dance sequences that draw from his diverse training in classic and contemporary dance across Europe, the USA, and Japan. His works often incorporate philosophical and anthropological texts, as seen in his adaptations of Lucretius' 'De Rerum Natura' and Claude Lévi-Strauss' 'Tristes Tropiques'. In his new role at La Biennale, Sieni plans to emphasize training and the creative process, integrating various art forms and social sciences, and exploring the body as a poetic expression. The Biennale della Danza Festival under his direction will commence in Venice in June 2013.
The Generation of Joyful Knowledge
The article discusses 'Silver Sufer,' a theatrical production that explores the relationship and contrasts between millennials and older generations, often referred to as 'silver surfers.' The play seems to delve into the various facets of these groups, highlighting both their contradictions and similarities. The production is described as an experimental endeavor, suggesting that it may incorporate innovative or unconventional theatrical techniques to express its themes.
Major online magazine about theatre and dance (mainly in Italian)
Theatre in Video. Paradise Now, Living Theatre
Judith Malina, co-founder of the Living Theatre, passed away at 88. The Living Theatre, founded in 1947 with Julian Beck, revolutionized theatre by integrating political activism and performance art. The article highlights Malina's significant relationship with Italy and her collaboration with Motus. It features excerpts from the 1969 performance 'Paradise Now,' which was born during the French May protests and critiqued societal norms. Malina's revolutionary spirit and the Living Theatre's impact on theatre are celebrated.
Dino, the Fallen Angel by Bernardo Casertano
Bernardo Casertano's 'Dino' is a compelling theatrical performance staged at Carrozzerie n.o.t. in Rome. The play, influenced by Jan Fabre's 'Il re del plagio,' explores the journey of an angel choosing to become human by incarnating in an actor. Casertano's solo performance, enhanced by Valentina Cruciani's direction, uses minimalistic props and a visceral approach to convey themes of human weakness and existential struggle. The production is noted for its sincerity, urgency, and dramatic ambition, leaving a lasting impact with its poetic and visual elements.
Theatre in Video. Quad by Samuel Beckett
In 1981, Samuel Beckett created one of his most enigmatic works, Quad I+II, for television. The performance, featuring four hooded performers in different colored tunics, was first broadcast by Süddeutscher Rundfunk. The article commemorates the 25th anniversary of Beckett's death by revisiting this 'television folly,' highlighting its unique choreography and Beckett's meticulous direction. The work is noted for its reflection of Beckett's themes of human anxiety and existential struggle, conveyed through precise movements and a stark visual setup.
The Constant Prince by Jerzy Grotowski
The article discusses 'Il Principe Costante' (The Constant Prince), a significant contemporary theatre production by Jerzy Grotowski, based on a text by Calderòn de la Barca. It includes an exclusive testimony from Professor Ferruccio Marotti, detailing his experience and interpretation of the performance, which explores themes of martyrdom and human nature through a psychoanalytic lens. The performance, noted for its intense and symbolic portrayal of torture and sacrifice, is contextualized within the political climate of the 1960s, drawing parallels to American military actions in Vietnam and Korea. The article also highlights the collaborative efforts in preserving and presenting this historical performance through audiovisual means.
Theatre on video. The figure theatre of Neville Tranter
Sergio Lo Gatto discusses the figure theatre and the work of Australian artist Neville Tranter, head of the Stuffed Puppet Theatre. Tranter's work, which combines puppet construction and manipulation with pure acting, physical theatre, and ventriloquism, is highlighted for its exploration of grey areas between animation, illusion, and storytelling. The article describes a scene from Tranter's 1985 show 'Underdog' and includes a translation of the text heard in the video. The piece also references Philippe Genty's perspective on when to use puppets in theatre.
The Old Man and the Sea, the Melancholic Hemingway by Michelangelo Campanale
The article reviews the theatrical adaptation of Ernest Hemingway's 'The Old Man and the Sea' by Michelangelo Campanale, performed by the company La luna nel letto at the Piccolo Eliseo in Rome. The adaptation is praised for its imaginative and physical staging, which effectively brings the story of Santiago and his struggle with a giant marlin to life. The performance is noted for its ability to engage audiences of all ages, blending English and Italian dialogue and featuring a compelling portrayal of Hemingway by actor Robert McNeer. The review highlights the play's success in capturing the essence of Hemingway's work and its metaphorical depth.
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