( I’m plunging)

Dramaturg and Director
Alessandra Rossi Ghiglione
With Alberto Pagliarino, Aldo Rendina, Fabrizio Stasia, Federica Tripodi
Narrator Esther Ruggiero
Movements Doriana Crema
Original music Davide Sgorlon
Caravan’s equipments and graphics Maurizio Agostinetto
Video Editing Fabrizio Giuliano
Assistant director Thea Dellavalle
Head scenic artist, light board and sound operator Claudio Albano
Trainee stage assistant Andrea Barzaghi
Organization Teatro Popolare Europeo for Caravan. Artists on the road
Organization coordinator and production Elena de Pascale
Production manager Giorgia Nordio
Supported by Regione Piemonte – Culture Commission Department
Thanks to: Mario Brusa e Telecittà Studio, EspressEdizioni, Sabrina Rosa, Sole Querido, Roberta Cipriani – Scuola ZUM, Cecchi Point, Casa del Quartiere di San Salvario

The performance Precipito tells the story of three young  and a dead fromTurin. It’s an Italian story, but in some way it’s speak about a more widely European situation. During the four months theatre community work inTurin, we met a lot of young people: teenagers, young in their twenties and thirties. As with other citizen belonging to different city districts, we both interviewed them and  did theatre workshops on our topic “crisis and renaissance”. It had been sometimes physical workshop, sometimes more narrative theatre work. We had interviews where they worked or where they played and meet friends: football fields, discos, streets, cafès, schools, shops, factories, university. It was and it is still a hot period for young people’s life inItaly, specially because of unemployment and the difficulties to rent a house and live by their own. It was quite interesting the difference between the teenagers and those who were studying at university or already working (or actually mainly training to find a job). The first felt no special worries about crisis, as they told us “That’s the world we are born in”, for the others it was completely different. They were angry, as if something -they should had had at that age- it had been stolen away by the crisis: job, house, love, family, the feeling that there is a future. They had plenty of energy, but had nothing to do except trying to survive. Some of them were even getting used to such a precarious way of life. On the other hand, in those days on the Italian main newspapers news came out about businessmen, who committed suicide. Getting deeply into the topic and the life experience of it, we realized that there was an important difference between man and women. We came along a lot of stories about women who lost their job but were able to cope with the difficult situation and tried to find out –even with a lot of creativity- a way to survive. Stories and experience were different as we moved from one district to another. Specially in the outskirts we were surprised at running into a lot of people who were not afraid or resigned, but willingly to do something to overcome the difficult situation. That happened mostly where people had relationship or became member of cultural or social association, sharing common civil aims. While working with them, we noticed that people were very eager to tell and listen to stories about crisis and renassaince much more than to talk about the topic, as if the narrative way were a better way to understand and even to stimulate reaction and give to move on.  Clearly a narrative theatre language with  a story and characters would have talked directly to the heart and the mind of the people. There was also a city,Torino, to be told in its differences. And the emotions and the feelings of the people we met: energy, anger, friendship, hope, desperation, conflicts, irony, etc. It has to be a comedy but with dramatic aspects, full of the energy of the young, but also with tears and tenderness. Once we started working on the performance, we created four different characters, none of them was exactly a person we met, but they all included specific elements of the dozen of young people we met: gestures, words, behavior.  Even during rehearsal, we felt sometimes the need to go back to people and have more conversations. Eventually Precipito turned out to be the story of Fabio Biella, Erika De Rosa, Luca Schillaci. The fourth character is a dead, Dante Riccomagni. Fabio Biella: a young estate agent, graduated in economics, ex-winner, he lives in the flats he should rent out. Erika de Rosa: a young woman, pregnant, she lost her job because of it, but she doesn’t give up. Luca Schillaci , educationalist,  he works as a waiter; he dreams to be a football trainer, but doesn’t do anything to acheive his goal. Dante “the dead”, one of the first businessman who committed suicide, enter into their lives. He is an ironic deadman, who provokes and helps them in an impossible dialogue between generations. Surrealistic, grotesque, comic and dramatic, with a lot  of physical language, dance and music, the performance tells the story of a change in the young’s life, when they have to decide what to do: whether to stay or to leave, to marry or not, to have a child or to be alone, to wait for something to happen or to make a change and do something on their own. Photos and video and a recorded ironic woman voice evoke the background of this stories: a geometric and mysterious city with its artistic winter lights, the river, the closed factories, the outskirts, the multicultural markets. This city and its stories is the symbol of Italy in a period when it’s more and more difficult for the young to have great dreams or even only to have dreams “da grandi”, that’s to say the dreams that any adult makes.

Photo Gallery


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