by Samuel Beckett
copyright:
Editions de Minuit
Italian translation:
Carlo Fruttero
direction, set, lights and costumes:
Theodoros Terzopoulos
with (in a.o.) Paolo Musio, Stefano Randisi, Enzo Vetrano
and Giulio Germano Cervi, Rocco Ancarola
dramaturgical advice and assistant director Michalis Traitsis
acting training - Terzopoulos Method Giulio Germano Cervi
set realized in ERT scenography studio
head of scenography studio and carpenter Gioacchino Gramolini
carpenters Davide Lago, Sergio Puzzo, Veronica Sbrancia, Leandro Spadola
set decorators Ludovica Sitti with Sarah Menichini, Benedetta Monetti, Martina Perrone, Bianca Passanti
design led Roberto Riccò
technical director Massimo Gianaroli
stage manager Gianluca Bolla
stagehand and props Eugenia Carro
head electrician Antonio Rinaldi
sound technician Paolo Vicenzi
wardrobe Carola Tesolin
production Emilia Romagna Teatro ERT / Teatro Nazionale, Fondazione Teatro di Napoli – Teatro Bellini
in collaboration with Attis Theatre Company
photos by Johanna Weber
About Waiting for Godot by Theodoros Terzopoulos
Our performance of Waiting for Godot will be set on “the ruins of the world”, in a future more or less close to us, where all the present and the past wounds will be kept open. The same for the expectations… At this borderline of human existence, what are the minimum possible conditions for restarting life, a life that is worth living? In Waiting for Godot there are two possible answers and there we intend to support our work:
The first is the effort to communicate and coexist with the Other, the one who is before us, despite of any obstacles, even when these seem formidable! The second is the effort to communicate with the Other inside us, this inscrutable and dark area of repressed desires and fears, forgotten senses and instincts, the region of the animal and the divine, where madness and dream, delirium and nightmare are born.
This is the journey we will try to make: towards the Other inside us and towards the Other outside, opposite, away from us. This is the journey we try to do every day. Waiting for what? The Redemption of life from the shackles of death? The meeting with the Human, the end of every humiliation of human by human? The Nothing or the Waiting, as Beckett derisively says?
But is there another way to envisage the emancipated human, without breaking down the walls that separate this "inside" from this "outside"?
BIOGRAPHY
Theodoros Terzopoulos was born in Makrygialos, in the village of Pieria. Ha attended K. Michailidis Drama School (Athens, 1965-1967); he studied and worked as assistant to the direction with Heiner Müller at Berliner Ensemble (Berlin, 1972-76). He was Director of the Drama School of the State Theatre of Northern Greece (Thessaloniki, 1981-83). He founded Attis Theatre in 1985, thet is still his 'home'. He was the artistic Director of the International Meetings of Ancient Drama in Delphi (1985–1988 and 1995–2004). Since 1990 he is founding member of the International Institute of Mediterranean Theatre and President of its department in Greece. Since 1995 he is Chairman of the International Committee of Theatre Olympics (the events have been held in Delphi, Shizuoka, Moscow, Istanbul, Seoul, Beijing, Wroclaw and in 17 cities throughout India). He is the founder and artistic Director of the International Meetings of Ancient Drama in the municipality of Sikyon (2005, 2006 and 2011). Terzopoulos has directed Greek tragedies, opera and contemporary plays in Greece and in many theatres worldwide, presenting 2.100 performances all over the world, throughout 34 years.
His approach on ancient Greek tragedy is taught in Drama Academies and Universities all over the world. He is leading many workshops and lectures about his method; he is an Emeritus professor in Academies and Universities and has been awarded with many Theatre Prizes in Greece and abroad. Books on his method have been published in Greek, English, German, Chinese, Turkish, Russian, Italian, Korean and Polish. The book about his method, “The Return of Dionysus”, was published in 2015, and has been translated into many languages.
