“A causa mia” by Francesco Saponaro (Italy)
By Stefano • May 18th, 2008 • Category: Agenda| June 18, 2008 12:00 am | a | June 21, 2008 12:00 am |
A CAUSA MIA
by Antonio Vladimir Marino, Antonio Marfella, Luciano Saltarelli, Francesco Saponaro
directed by Francesco Saponaro
production Teatri Uniti
in coproduction with Napoli Teatro Festival Italia, Mercadante Teatro Stabile di Napoli, Teatro Stabile d’Abruzzo
from 18th to 21st June 9.30 pm
First night
language Italian
duration 70′
location: Castel Capuano
In March 1904 Gabriele D’Annunzio’s latest theatrical work La figlia di Iorio was a real success. In December of the same year, without the author’s written authorisation, Scarpetta stages at the Teatro Mercadante of Naples, Il figlio di Iorio, a parody of D’Annunzio’s work. Few days later, on behalf of SIAE and Gabriele D’Annunzio, Marco Praga, general manager of SIAE, brings an action against Eduardo Scarpetta for plagiarism and counterfeit. Through a review of the history of the theatre, the defence counsel and prosecutor deliver their final memorable speeches (thanks to their juridical arguments and oratory affectation). The criminal proceeding finalised in 1908 with a dismissal of the charge against Scarpetta for non-existent offence. In the Italian decisions of the courts this was the first judgment on the matter of parody. Despite his acquittal, a short time later Eduardo Scarpetta decides to withdraw from the theatre.
A Causa mia reconstructs the story of the trial through a creation consisting of independent segments developed in different stages and arranged into scenes that combine a wide range of genres (tragic, comic, juridical, lyric, grotesque) through the simultaneous use of different artistic languages (theatre, cinema and television). Staged in the suggestive premises of Castelcapuano, seat of the historical Court of Naples and actual scenario of those events, this performance is played by well-known actors of the contemporary theatre and great actors of the Neapolitan folk tradition; the idea is to multiply the “short circuit” between the aulic fascination of D’Annunzio’s theatre and the overwhelming dynamism of Scarpetta’s comicality.
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