Silvio Orlando returns to Teatro Donizetti, after the great success in 2022 with La vita davanti a sé: the popular Neapolitan actor, one of the most representative figures in today’s Italian cinema and theater, will bring to Bergamo “the latest show produced by his company, Ciarlatani, written and directed by the Spaniard Pablo Remón, scheduled from Saturday, February 22 to Sunday, March 2 as” part of the Prose Season and Other Paths of the Teatro Donizetti Foundation. On the stage of the city’s main theater, Silvio Orlando will be joined by Francesca Botti, Francesco Brandi, and Blu Yoshimi.
On Thursday, February 27, at the “M. Tremaglia” Music Hall of Teatro Donizetti (at 6 PM), there will be a meeting about the show
with Silvio Orlando and the company. Maria Grazia Panigada, Artistic Director of the Prose Season and Other Paths, will coordinate.
Free admission with reservation by registering at the Eventbrite link published on the Teatro Donizetti website.
“Ciarlatani tells the story of two characters connected to the world of cinema and theater. Anna Velasco is an “actress whose career is at a standstill. After acting in small productions of classical works, she now works as a Pilates instructor and performs children’s theater on weekends. Between television soap operas and alternative shows, Anna is searching for the great character that will finally make her triumph. Diego Fontana is a successful director of commercial films who is embarking on a big production: a series to be shot all over the world, with international stars. An accident will lead him to face a personal crisis and rethink his career. These two characters are connected by the figure of Anna’s father, Eusebio Velasco, a cult director of the” 80s, who disappeared and isolated himself from the world,” writes Pablo Remón in his director’s notes. ” Charlatans are also several works in one: each of these stories has a particular style, tone, and form. Anna’s story has an eminently cinematic style, with a narrator guiding us, where dream and reality blur. Diego’s story is a “more classical theatrical work, represented in more realistic spaces. And finally, there” is, as a “pause or parenthesis, an autofiction in which the” author of the “work we are watching defends himself against accusations of plagiarism.
These stories are told in parallel, they feed each other, they are mirrors of the same themes.
The” whole is constructed with partly independent chapters, forming a structure closer to a novel than to theater. The “intention is for Charlatans to be an eminently theatrical narrative, but with a” novelistic and cinematic aspiration.”
Finally, Charlatans is a comedy in which only four actors travel through dozens of characters, spaces, and times. A satire on the world of theater and audiovisual, but also a reflection on success, failure, and the roles we play, inside and outside fiction
, concludes the Madrid-based director.
