Delitto/castigo

LUIGI LO CASCIO   SERGIO RUBINI

in

DELITTO/CASTIGO

adattamento teatrale by SERGIO RUBINI – CARLA CAVALLUZZI

with

ROBERTO SALEMI

FRANCESCA PASQUINI

and with

G.U.P. ALCARO

voices

FEDERICO BENVENUTO

SIMONE BORRELLI

EDOARDO COEN

ALESSANDRO MINATI

set design

GREGORIO BOTTA

costumes

ANTONELLA D’ORSI

music

GIUSEPPE VADALÁ

progetto sonoro

G.U.P. ALCARO

lighting design

LUCA BARBATI – TOMMASO TOSCANO

production photos

SERENA PEA

regista collaboratore

GISELLA GOBBI

directed by

SERGIO RUBINI

Lo spettacolo ha debuttato to Teatro Salieri by Legnago on 20 February 2018.

Vertigo and unease accompany the reader of Crime and Punishment: the vertigo of finding oneself inside the obsession of a voice that sees in murder its one and only assertion of existence. Crime, then, as the mirror of one's own limit and a horizon that must be crossed for self-affirmation. A conflict that creates a fever, a split, a doubling; a murder that produces a punishment – a double-edged sword. Like the writing of the novel itself, where reality, told in the third person, is constantly interrupted and assailed by the first-person voice of the protagonist's thoughts. And it is precisely this two-toned nature of Crime and Punishment that suggests bringing it to the stage as a reading for two voices. Sergio Rubini and Luigi Lo Cascio are the two voices of the work, drawing the audience into the story and making them live the protagonist's obsession first-hand.

TRAMA

Crime and Punishment, Dostoevsky's most widely read and best-known work, tells of the torment of Rodion Romanovich Raskolnikov, a desperately poor young man choked by debt, who kills a mean old moneylender. The novel clearly shows the protagonist's inner conflict, which splits him in two. We live through his lucid reasoning as he refuses to feel remorse, to prove to himself that he belongs to the category of those he calls 'Napoleonic' – great men, superior minds with revolutionary ideas, entitled to live and act above the common law because all their actions, even those condemned by morality, ultimately aim at the collective good. He tries to convince himself that the murder of the old moneylender, having freed many poor debtors from her yoke and removed an evil being from the face of the earth, is not only blameless and should cause him no repentance, but is the very proof that he belongs to a superior category. On the other hand, we witness the slow dawning in him of the awareness that he cannot escape guilt and the terror of being found out: in the end he must resign himself to being not a great man at all, but a 'louse', and as such to deserving punishment.

Articoli

la Repubblica – Roma

la Repubblica

Il Tempo

La Gazzetta del Mezzogiorno

Photographs are free of publication rights for press use. Please always credit the photographer: ph. Serena Pea

DOWNLOAD THE PHOTOS

  Failed to get data. Error:
Request had insufficient authentication scopes.