Home Tuesday, May 23 2017 - 18.45
ITALIAN VERSION
CSS
Teatro stabile
di innovazione
del Friuli Venezia Giulia
via Crispi 65
33100 Udine - Italy

tel +39 0432 504 765
fax +39 0432 504 448
info@cssudine.it
 
 
Other resources:
I sette a Tebe / Seven in Thebes
/ I sette a Tebe / Seven in Thebes
Two years has passed since Michela Lucenti began to work with her group of dancers/actors of Balletto Civile, with inexhaustible willingness of inquire and comprehend, on the knots that tie the reasons of classical theatre to today's tensions.
year 2006
text adapted from Aeschylus' Seven against Thebes
directed by created by Michela Lucenti / Balletto Civile
cast Marlene - Ismene Michela Lucenti
Polynices Giovanni Battista Storti
Tydeus - Melanippus Maurizio Camilli
Capaneus - Polyphontes Francesco Gabrielli
Eteoclus - Megareus Emanuele Braga
Hippomedon - Hyperbius Stefano Botti
Parthenopeus - Actor Yuri Ferrero
Amphiaraus - Lasthenes Massimo G. Giordani
Herald Damiano Madia
Eteocles Lino Musella
Antigone Emanuela Serra
set & lighting design Stefano Mazzanti
music Terroritmo
additional details choreography and chants Michela Lucenti
dramaturgy Michela Lucenti, Emanuele Braga

with the help from Pietra Selva Nicolicchia, assistant Emanuela Serra, technical assistant Ambra Chiarello
production CSS Teatro stabile di innovazione del FVG / Balletto Civile with the support of Fondazione Teatro Ortigia / Change Performing Arts and the collaboration of Armunia Festival Costa degli Etruschi

 
Two years have passed since Michela Lucenti began to work with her group of dancers/actors of Balletto Civile, with inexhaustible willingness of inquire and comprehend, on the knots that tie the reasons of classical theatre to today's tensions. First Trojan Women, a “ketchup” version, where the political musical already took shape, and now I sette a Tebe, where two brothers in a stubborn and extreme fight against each other seamlessly feed their armies with the words of Aeschylus, Ariel Sharon and Arafat. And in this succession of voices and dimensions, among past, present and future, bodies, actions, words, music and chant knead in a natural and necessary way in this civil cabaret, where a group brings itself totally into play, in this very difficult times of theatre-making, fighting and investing with decision in a courageous project identity and in an artistic continuity more and more convincing and solid. 
 

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