Koreja – Theater production center.


Design and creation by Alessandro Serra
With Francesco Cortese, Riccardo Lanzarone, Maria Rosaria Ponzetta,
Emanuela Pisicchio, Giuseppe Semeraro
Direction, scenes, costumes and lights Alessandro Serra
Scenes realization Mario Daniele
Scene movements collaboration Chiara Michelini
Thanks to Anna Chiara Ingrosso
Technicians Mario Daniele, Alessandro Cardinale
Organization and tournée Laura Scorrano, Georgia Tramacere
Co-production Compagnia Teatropersona

With soft heart, with soft hands, take life or leave it. 
H. V. Hofmannsthal

FRAME is inspired by Edward Hopper’s pictorial universe. Every his painting has been considered as a short tale fragment where extrapolate figures, situations and words from. A figurative/visual short novella, without a plot or an end, as Checov would say, for a moment a semi-opened door on a unknown house and immediately closed again.
I’m not interested in Hopper’s irrefutable pictorial qualities but rather in his ability to imprint his interior experience on paintings. To reproduce it on the stage. To show it, also only for a moment. In his paintings there aren’t moral or psychological implications, he simply catches every day routine. Extraordinary paintings accomplished through the ordinary. The more usual the settings are (lived by simple figures) , the more the magic of the real is revealed. There’s no time to describe, everything happens out of a sudden and in ward interior truth is shown.
There is an interior and external observer but with no voyeuristic aims or perversion. Chastity and prudery spring out when you are riconciliated, calm and warned by the sun. When the interior break has taken place inside us and everything flows with no regret , so that what remains of life can regularly flow. No sensational events. Simply a moment when everything changes, with no clamour. Figures always on the fringes: a window, a bar showcase, a theatre emergency exit, an half-closed curtain, a door, a train window. Looking for light. While life, outside, fixed, looms over. Streets are desolate, quiet oceans. And trees, lighted by sun, are cohorts and they create dark path.

Alessandro Serra

From 27 February 2018 to 4 March. TEATRO VASCELLO Rome, Italy.
Via Giacinto Carini, 78, 00152 Roma RM / T. +39. 06 589 8031

You’ve got a sword and so does.
Dedicated to “Cosa sono le nuvole?” (What are clouds?)
by Pier Paolo Pasolini.

by Francesco Niccolini
Directed by Enzo Toma
With Carlo Durante, Emanuela Pisicchio, Annachiara Ingrosso, Francesco Cortese
Assistant to the director: Valentina Impiglia
Set designer: Iole Cilento
Realization of the scenes: Porziana Catalano, Iole Cilento
Original music: Pasquale Loperfido
Charles Magne’s voice: Fabrizio Saccomanno
Lights: Angelo Piccinni
Technicians: Alessandro Cardinale, Mario Daniele.

Childrens’ games. War games. Puppets. Moppets. Old and beautiful things. To be broken in two by sword swings. Underneath: bodies, metal, love and war. Above: wires, loud voices and a tragic destiny. Charlemagne and his paladins. When I was a boy I hated those characters, prototypes of conquerors.
Whereas I loved their portrayal of death tenderly, those marionettes broken into hundred pieces, tied to a torn paper sky. Twenty years later, when I see men and/or puppets die in battle fields, I understand that everybody deserves compassion and their corpses must be respected. The tragic- and comic story of Charlemagne’s paladins – from Angelique’s arrival at court to the massacre at Roncesvalles – tells the beauty and cruelty of life. If great poets and obscure theatre-goers still have pleasure in telling this story even after more than five hundred years, there must be a reason. It seems to be in the small puppet theatre where the great director and poet Pier Paolo Pasolini led some of the most important Italian actors of the Sixties (Totò, Ninetto Davoli, Franco e Ciccio) telling the story of Otello, Iago and Desdemona. With these puppets I would like to recount Rinaldo, Astolfo, Angelica, Bradamante, Fiordiligi, Orlando and the massacre in Roncesvalles at the end, that weird and bloody dump in which all those bodies died and lied abandoned, looking at the sky and asking themselves “What are clouds?”

(Francesco Niccolini)

Prize as Best Performance _EOLO AWARDS 2009.
Prize as Best Performance_ The Critics’ Choice Award 2009.
Special prize of the Jury as Best Performance for supporting and developing the traditions_ The Great Petrushka, International Puppet Festival.
Prize as Best Director_ Harmony Word puppet Carnival 2014_ Bangkok-Thailand.
International Prize Il Teatro Nudo di Teresa Pomodoro , Jury of Audience 2016.


Teatro Vascello Rome:
Form 6 to 9 March and 10 – 11 March.

spettacoli@teatrokoreja.it – Mobile +39 328.5317676
Skype laurascorrano / Facebook Laura Scorrano / Twitter iauaua

Cantieri Teatrali Koreja – Centro di Produzione Teatrale

via Guido Dorso 70 – Lecce – tel. +39.0832.242000-240752 www.teatrokoreja.it

Slide thumbnail



write to info@thescenographer.org