Qui e Ora

PAOLO CALABRESI   VALERIO APREA

 in

 QUI E ORA

set design BEATRICE SCARPATO

costumes ANTONELLA D’ORSI

lighting design LUCA BARBATI

sound design CRISTIANO PALIOTTO

assistant director ANNAGAIA MARCHIORO

written and directed byMATTIA TORRE

Lo spettacolo ha debuttato to Teatro Ambra Jovinelli by Roma on 15 December 2016.Director's notes

In a country where, if you have an accident with someone, they are already your enemy whoever is in the right, Qui e ora tells of the clash between two men who have survived a scooter crash on the far outskirts of a big city, waiting without much hope for help that, indeed, does not come.

Their clash expresses the cynicism and combativeness of today's Italy, a country always ideally one step away from civil war, where bad administration ends up breeding distrust not only of citizens towards institutions but also between citizens themselves, in an ever more tense and violent climate that reaches its peak in the big city.

In the hour and ten minutes spent waiting for help – the theatrical time of the story – Qui e ora tells of an anxious, violent and comic urban duel between two men who need treatment and will not get it and who, though both victims of the ferocity of our times, recognise each other as enemies: the first sees himself as an extraordinary man, but isn't; the other could be content with his own ordinariness, but won't be.

In today's great social, cultural and political void, among the possible drifts are a sense of inadequacy that leads people to lose themselves (as with Claudio Aliotta, played by Valerio Aprea), or the cynicism and ferocity that lead to evil (as with Aurelio Sampieri, played by Paolo Calabresi).

As with Boris, once again much of the credit for the project goes to the actors – here not only talented performers of a highly demanding one-act play without a safety net but also, given the level of sharing, partners in the venture – and to the producers Marco Balsamo and Fabrizia Pompilio for the vitality, energy and importance of their work.

Proof that even in a complicated country in crisis like ours, theatre can and must, as a militant act, let out desperate cries, exorcise terrible events and send out quiet, playful invitations to harmony.

Mattia Torre

Synopsis

An accident has just happened on a side road in an isolated outlying area of Rome, near the ring road, completely deserted, with no passers-by or houses – fields, nothingness. Two big scooters just after the impact: the first overturned, as if driven into the ground; the second unrecognisable, a wreck of still-smoking metal. A serious accident. On the ground, a few metres apart, two men in their forties; the first motionless – he could be dead – the other slowly moves a foot and struggles to his feet. And then the first opens his eyes too. They need help but won't get it; they need treatment, but help won't arrive for an hour and a half. Around them, for them, nothing and no one. Articles: Corriere della Sera, Milan

la Repubblica – Milano

La Stampa – Milano

controscena.it

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

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