To the Point That You Can Reach


with Sara Donzelli
directed by Giorgio Zorcù

recording and audio editing Diego Ruvidotti
production Accademia Mutamenti, Teatrocentro Pietrasanta
with the support of the Region of Tuscany and the Province of Grosseto

The show is the result of a search for actress Sara Donzelli on the role of the Stepdaughter in Six Characters in Search of an Author by Luigi Pirandello, held mostly within the courses of Jurij Alschitz, and the directorial contribution of Giorgio Zorcù.
The basic theme is the exploration of a strange woman, in solitude or in connection with one/many men – that can be seen in the watermark and reflection – the different faces of love and violence.
Giving body to the Stepdaughter has meant blowing up the role: give her a mythical past, relived a present and a final background, appearing for lightning and for image cuts, in a context of film set of yesteryear, a suburban area where memories and flashes of the future flow, acknowledgment of the present and unveilings. Stepdaughter is a woman in crisis, which reflects the disruption of the world in search of values ​​and new models; is running away from a family already on the run, with the pride and the power of attraction of a inconvenient life to find a new life.
Unfold on the scene the ghosts of a tragedy of the daily, the depths and the heights of movement that women and men must go in search of grace, knowing that love can come from violence as violence can come love. Transported by the vital need to continuously questioning ourselves on new territories where the encounter and the clash between the feminine and the masculine take place.

to the point that you can reach is also a reflection – we feel an urgent – on the nature of the theatre, on the the stage space as a place for the soul and the acting profession; reflection practiced in the scene from a review of the work of Pirandello.
It proceeds by successive stages: in the summer of 2004 was presented the first study in Castel del Piano, for Tuscany of the Cultures Festival, and in February 2005 a later version in Milan at Via Dini, for the season of the CRT-Theatre Research Center.
Its shape is that of an open work, that in the different areas in which it is presented – small theaters, big stages or warehouses – it rearranges to scenic location and deepening of its elements.

The show can be also presented to students of the last cycle of High Schools, ahead with the vision of a thematic workshop on Pirandello led by Sara Donzelli, based on some of the statements taken from Six Characters in Search of an Author.

… E’ la natura e l’identità femminile il soggetto primo di questa ricerca teatrale, che non può però non sfumare nel maschile, in the relations between beings, in the relationship between art and life. Pirandello, it is recalled, is not only a skewer of scripts, and related messinscene, more or less moldy: è prima di tutto un cosmo, still vibrant and that still concerns us all. To see.

city Milano, 21 February 2005 – Antonio Calbi

Sara Donzelli attraversa per intero il mutevole spazio scenico che la ospita, in which she moves both as character, both as an actress, colta nel momento stesso del suo divenire personaggio, affrontando così la natura stessa del teatro, theme dear to Pirandello. L’esplorazione del femminile si traduce nelle parole del monologo che amalgama tracce pirandelliane ad altre suggestioni letterarie, ma anche nella scelta del tessuto musicale, ranging from Bjork to tango, dall’ipnotico tema di In the mood for love di Wan Kar Wai a una struggente Mina, e nelle immagini astratte proiettate sulla tela che ricopre per intero il fondo della scena. Many suggestions.

La Repubblica Milano, 25 February 2005 – Giovanna Crisafulli

In front of a huge and enveloping white towel, Sara Donzelli si espande in tutto il palco. On the bottom scrolling images, proiettate dal vivo attraverso una lavagna luminosa, color spots, the kiss of Magritte, oriental masks. Sempre in bilico tra la vita dell’attrice e il ruolo del personaggio Sara Donzelli mostra la complessità dell’animo femminile, la maturità di una donna che non è più solo Figliastra rabbiosa nei confronti del padre e della madre ma Figlia del caos, homeless and houseless foreign, che crede ancora nell’amore, in the relationship between the sexes, nella possibilità di rigenerarsi. A performance that excites.

Prima Fila, n. 115 – May 2005 – Patrizia Bologna

E’ l’alchemico alternarsi di chiaroscuri di un corpo e di una mente, di lucidità che improvvisamente si trasforma in pazzia e viceversa, dello strano e necessario fondersi di amore e violenza alla ricerca di un significato di se stessi e della vita. La sfrontatezza dolorosa di una giovane donna che si mostra sul palcoscenico attraverso toccanti dialoghi in cui si rivolge a suo padre, a uomini che ci sono stati nella sua vita, men that there will be. all surrounded by winding ballets and spasms of pain, from wide-eyed or malicious eyes, di ricordi passati e di speranze future.
The actress manages to make public its "intimate", a suo agio tra una scenografia semplice e una grande quantità di materiali scenici eterogenei che si amalgamano in maniera coinvolgente ed evocativa. Of great impact the knower directorial contribution, drammaturgico e scenico di Giorgio Zorcù.

www.nottidaleon.it/teatri, 14 September 2005 – Andrea Leo e Chiara Zaccarelli


Stage space

The show can be adapted to different spaces, whether theaters with steps for the public (the preferable situation), or theaters with a stage (better if not too high from the ground); the action can also be performed in the pit, just below the stage, for about 2 meters.
Scenic space should have a depth of at least 10 metri, and a width of at least 8 metmeters
It's always advocated a preventive inspection.

The space must be completely obscured.
In the case of outdoor spaces: must be highly protected by noise and light sources.

Lights

n. 16 PC 1.000 W
n. 10 flags, n. n portagelatine
Power lights 14 channels

Light load required: 12 Kw.

Phonic

Cd Player
Mixer
speakers with the power required for space used

Mounting and dismounting

Installation should be done in the afternoon of the day before the show, to allow the tests to scenic space adaptations.

n. 1 help (porter) for unloading (about half an hour) and loading;
Technicians for staging assembly, assembling and tracking lights, sound installation (max 4 hours).

Locandina