ODISSEO. Travel in Theatre

with: Chiara Elisa Rossini, Diana Ferrantini, Alessio Papa, Fiorella Tommasini, Katia Raguso, Boris Ventura, Marina Carluccio, Silvia Massicci.
costumes: Genny
dramaturgical collaboration: Roberto Domeneghetti and Mariangela Dosi
music and direction: Massimo Munaro


In the end, the best way to travel is feel
feel everything in every way


After EDIPO, DIONISO and AMORE E PSICHE, the work on ODISSEO is the last stage of a project that is a tetralogy on the myth and the spectator.
In this performance the direct relation between actors and spectators is taken to a larger audience, while in the other three works there were less spectators (EDIPO for one person, DIONISO for nine people, AMORE E PSICHE for two).
So we have 33 spectators that are also only a single identity, the one of Odysseus, which, as the theatrical spectator has to be multiform. In this sense, the total perception of the event, also if considering the perception of the singles, is finalised to the total body of the spectators: that is the body of Odysseus.
Odysseus' body is wounded, but his wound is became a scar.
Odysseus' journey is circular and implies a departure and an homecoming: from Itaca to Itaca.

This journey develops not in a linear way, but in a synchronical way: everything happens at the same time.
Like in a dream. The Sea, as Theatre, hasn't got a "centre"; and the Sea, as Theatre, leaves no trace. But Theatre, as Odysseus' Sea, is the only place where we can meet our ghosts and where we can conquer our Itaca: the home where we can come back different but the same.




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