Let's think of the economy and the world of work as a series of numbers, statistics, and flowcharts. Between the 1980s and the 2010s, GDP as a share of corporate profits increased by eight percentage points, or one hundred and twenty billion euros per year. This wealth has been channeled into profits, not wages, income inequality has widened dramatically, and workers' incomes have plummeted. What humanity and what human cost lie behind the divide in a society that has defined the concept of work and value in terms of social accounting? To answer this question, Manlio Marinelli offers us a text that explores the thought of Karl Marx—specifically, that of his Early Philosophical Works—through the threads of a polylogue that probes the alienated and silently suffering humanity of contemporary society; that so-called liquid society that is, in fact, an oppressive quagmire within which the most formidable existential slaughter of the last fifty years is being played out.

I Don't Need Anything

Teatro Libero

Lammerica is a performance inspired by the private diaries of Chiara Calda and Teresa Luongo, two twentieth-century women who lived through the period of Italian migration. The production, the fruit of research and artistic experimentation, recounts the intense journeys of two ordinary women, one to America, the other to Italy, through a unique scenic and sound elaboration of the pages of the two autographed texts. The diaries chosen for the production are drawn from the selection of texts compiled for the "Italians Abroad" project of the National Diary Archive of Pieve Santo Stefano, realized with the support of the General Directorate for Italians Abroad and Migration Policies of the Ministry.

Lammerica

In Freddo, the protagonists are three young adolescents from environments on the margins of Western society. They live and thrive on clichés, fears often fueled by profiteers capable of exploiting hardship and poverty for their own ends. All this generates in them a deep, ancestral rage, which is then unleashed on the skin of a boy "different" in terms of nationality, origin, and culture. A scapegoat who, in the author's hands, becomes a dramatic and narrative tool to show us the contradictions and conflicts of democratic and organized Western society. The complexity of contemporary life becomes an interesting field of investigation to question relationships, power dynamics, generational conflict, and the widespread and profound malaise that pervades the world's peripheries, the new generations. A relentless snapshot of the complete lack of empathy and emotional insensitivity of an entire generation, and the failure of adults incapable of educating.

COLD

The project, starting with Hecuba, but not focusing exclusively on her and reworking her myth, extends to the figure of mothers in wartime conflicts and presents itself as a reflection on the senselessness of war, the violence it unleashes, and particularly the violence it inflicts on women's bodies. The performance observes the devastation of war and the loss of children in every war, past and present, from a perspective of reinterpreting the myth between past and present. It focuses on violated motherhood and the cry of pain that rends a mother's soul, giving voice to the figure of a woman reduced to a pile of emotional rubble, but also to her resilient strength. A woman who has personally experienced violence and continues to see, live, and feel violence. A secular ritual on the wars of yesterday and today and the wounds of women. A performance that can sow a seed in spectators, leading them to reflect, to want to transform horror into solidarity and listening to others. A cry that reaches even today, to the wars that man continues to perpetrate.

HECUBA The war on mothers

When Rome decides to crown Julius Caesar by acclamation, returning victorious from the Egyptian campaign, not everyone in Rome agrees. The Republic is in danger: within twenty-four hours, the democracy we thought we had become accustomed to will transform into something different.

Julius Caesar Or The Night Of The Republic

Molière's "The School for Wives" seemed to us the most appropriate starting point for discussing what is perhaps completely lacking in our society today: sentimental education. The text marks a turning point in the work of the great French author, who, while drawing on traditional comedy, approaches a more marked realism that he finds necessary because it draws on the author's own life.

THE SCHOOL FOR WIVES by Molière

A dance and visual arts performance inspired by Joana Vasconcelos's work Miragem. Vasconcelos's artworks are explosive sculptures, grounded in the moment. Her creations possess a joyful and irrepressible monumentality that words would be reductive to describe. Thus, we are transported into her creative world by three dancing bodies, painting free, fresh, and intuitive traces in the space, grounded in immediacy. A brushstroke of surreal gestures.

Surreal Intuitive Gestures

The Fridge is one of the most whirlwind plays by the great Franco-Argentine playwright Copi, famous for his Seated Woman comics. Here, his themes and obsessions are concentrated, beginning with the indefinite gender, against the backdrop of the loneliness of a woman locked at home, who entertains her phobias and anxieties by imagining absurd and threatening characters who come to visit her.

The Fridge

Life Theaters

Fascination with the theater. Pirandello is first and foremost a man fascinated by the theater, by the interplay of fiction and reality, and vice versa. The theater, that magic box, the little universe where something artificial happens in the attempt to represent life.

Stepdaughter – Almost True

On stage, a lonely woman and a void, an emptiness that cannot be filled; a hole that is a wound, a space of memories, of apparitions, and of questions.

A Kind Of Prayer

Miranda is a little girl growing up in a circus tent in the middle of an island, under the loving gaze of her father, Prospero, and in the company of her friend, Caliban, the clown. Within this magical circle, time passes between balancing acts, acrobatics, and melodious songs from the four corners of the world, but at a certain point, Miranda feels the desire to truly travel, to discover the cities she's always heard about, to meet new people. When the lights are out, Miranda, now a young woman, secretly sews a dress of her own, and in the folds of the fabric she places a new image of herself, freer, more suited to her desires. How can she communicate this to Prospero? The actor who has graced the boards of the most important theaters, the loving father who has built a world around her? Dark clouds gather on the horizon, heralding a storm. The wind will blow against the curtain to make his characters more real, to wash the greasepaint from their faces and allow Prospero to finally confide his secret, the mysterious story that led them to the island, and Miranda to realize her deepest desire.

Miranda Circus

Two actresses introduce themselves to the audience and pose a question as absurd as it is theatrical: "What if William Shakespeare had been a woman?"

Lady Shakespeare

Little Iliad – Football Diary of '97/'98 is a coming-of-age drama that intertwines personal memories, myth, and sporting passion. A woman returns to her childhood home, now empty and ready to be sold. Among old cassettes, diaries, and forgotten objects, the memory of a pivotal year resurfaces: the 1997/1998 football season, Ronaldo's arrival at Inter, and the anticipation of a happiness that seemed possible.

LITTLE ILIAD Football Diary 1997/1998

The older a tradition, the more untouchable it seems. But if there's one thing tradition has done, since the dawn of time, it's nourished by all the voices that pass through it.

Pitrè Over Time

The play highlights the absurdity of a life in which even death and a casual murder can lead to a sense of being and feeling. In a courtroom, Algerians in keftas lead Meursault to relive the pivotal moments of the story: his mother's funeral, his relationship with Maria, his friendship with Raimondo, the crime, the trial, and the impending guillotine. The play shows the upheaval of his life over the course of four days, leading up to his death. Mersault ends up on the guillotine for shooting an Arab on the beach who was threatening him with a knife. What determines the judge's conviction, however, is not this incident, but Meursault's perceived cold and indifferent attitude toward his mother's death. The stage retraces the trial and conviction of the employee, who slowly takes control of himself and, in the name of truth, arrives at the nonconformism that makes him a "foreigner" to the world, a victim of the human condition.

The Stranger

Akròama T.L.S.

Never enough , the fourth original production by the E1NZ Company, is a circus-theater show dedicated to balance. Using everyday materials—wooden sticks, ropes, rolls, and red Milets—the duo creates a poetic acrobatics in which stability and movement are continually reinvented. The wooden sticks create fragile balances or are manipulated and launched into the air. The Milets change shape and function, expanding the stage space, both on the ground and in the air, and providing a fertile ground for dynamic scenes. At the same time, the show stages a subtle interplay between two performers who communicate without words, challenging each other, losing and regaining balance, effortlessly shifting from tension to lightness—thus making tangible that never enough that gives the piece its title. Never enough does not provide an answer to the question of when "enough" is, but leaves room for personal interpretations by those who wish to reflect on what they have seen or simply to let go of the present moment. Sixty minutes of thought-provoking, moving, and surprising scenes reverberate far beyond the theater, accompanied by Heidi Happy's original music.

Never Enough

In a motel room, Jon, an aspiring filmmaker with ideals, meets his old friend Vince, a neurotic and alcoholic firefighter. The two haven't seen each other since high school. Between jokes and provocations, the conversation takes a turn for the worse: Vince harps on about a past episode in which Jon allegedly had an ambiguous sexual relationship with Amy, Vince's then-girlfriend.

TAPE The Recording

Belle Toaste is a show inspired by the story " The Butter Battle " by Dr. Seuss, one of the most brilliant children's authors of the twentieth century. Here, butter becomes a playful metaphor and an ingenious excuse to tell children, and not only them, about the frightening reality of war between peoples. The show begins from this, placing a large and seemingly insurmountable wall at the center of the stage, like a cumbersome protagonist meant to symbolize all the boundaries, concrete and otherwise, that humans place on the earth to delineate their space, distance their neighbors, and demarcate their lands.

Beautiful Toasts

Tridicino is a boat journey across the Sicilian sea, on the waves and into the depths of the Camillerian sea. A tale of mythological inspiration, rich in emotion, with hints of irony, melancholy, and references to a world now almost extinct, yet still alive in the tradition of the "Cunto." This tale recalls the beaches of Western Liguria in the early 19th century—the period in which the play is set—when they were still relatively untouched and brimming with flora and fauna, and when the first signs of tourism were evident on the Ligurian coast. Furthermore, the eighteen instruments played by ethnomusicologist Roberto Catalano evocatively evoke the sounds of water, sea, and shells, in a still-direct connection with unspoiled nature and the entire fairytale world that emanates from the sea. It harks back to marine legends and myths, also evoking dramatic episodes such as the arrival of the waterspout and the resulting threat to the tightly knit community of fishermen. The ways and forms of the tradition of songs linked to the sea are similar between the Liguria of the past and the Sicily of the past.

A Sea Story: Tridicino

Associazione Culturale Lunaria Teatro

In any poor neighborhood of any city, a little girl arrives. Her name is Kore, she plays soccer, performs miracles, makes prophecies, and speaks of a new world to come. The neighborhood children begin to follow her. One day, Kore is hit by a white four-door Toyota pickup truck driven by a mysterious driver who escapes. The little girl's death will be the spark for a revolution led by children. The adults will succumb. Lilac flowers will bloom everywhere. Thus, the world as we know it disappears and an entirely new one begins. No cataclysm, no meteorite, no fiery angel, no extraterrestrial, no nuclear war, no climate change. Only the children's will will set in motion a sequence of insurrections that will succeed in shattering the system of values, economics, religion, and politics that has governed the world until that moment. Tamagno's story is dystopian, prophetic, poetic, concrete, raw, and epic. The title Plot itself announces a style, itself radical. The text's division into lines, acts, and characters disappears. Fragments of stories, snippets of characters and legends, a variety of points of view, all contribute to a single literary and political need: to find a possible way to definitively shatter this world we dislike.

PLOT

Teatro della Città

Numerous writers have left behind memorable testimonies to the Holocaust. Grumberg resonates with audiences of all ages and has allowed the director to explore a poetic vision he has always shared with his simple, ironic, and profound approach to the issues facing our society. His origins, his education, and the history of his family who experienced the Holocaust are almost always present in his works, with a tragicomic edge, a grotesque twist that lays bare human feelings in a crude yet loving dialectic between good and evil. The events recounted refer to the experiences of a French family deported in the winter of 1943.

The Most Precious Commodity

Prince Myshkin is an enigmatic and fascinating character. With each rereading, The Idiot , Corrado Accordino declares, offers me new insights and reflections. Sometimes I laugh at Prince Myshkin, sometimes I feel compassion, other times I envy him. I am overwhelmed by his superior spirit and his blind faith in others. Yet I don't understand his serene lack of willpower, so at odds with the passionate and instinctive love that pervades him. His sudden excesses disorient me. He speaks of epilepsy, comparing it to a state of bliss, an unparalleled joy. I read about him living and it feels like I've always known him. But then his behavior disorients me; he returns to being the same old stranger, a surprising and inexplicable difference. Prince Myshkin is never the same, and like all great literary figures, his personality is the sum of many individuals. Sometimes it seems as if it is Christ himself speaking with his infinitely beautiful and clear word, other times instead it seems like the Knight of the Sad Countenance, comical and bitter, tragic and sublime at the same time.

The Idiot

Teatro Binario 7

I Am Pan is an interactive theatrical and musical adventure for girls and boys aged 5 to 10, freely inspired by Peter Pan. In a room where adults outside are screaming, Pan chooses not to give in to fear: she invents an island, calls on the audience to fight with her, and transforms the game into an act of resistance. Through songs, acrobatics, shadows, lights, and poetry, the show explores imagination as a refuge, a life force, and a means of salvation for those experiencing abuse and domestic violence. Using a language close to the Scandinavian tradition of children's musicals and Brechtian theater, I Am Pan invites young spectators to participate, choose, sing, and dream: because no captain can steal the dreams of those who continue to play.

I Am Pan

Teatro Nuovo Pisa | Ass. Binario Vivo

A strange disappearance ignites the conflicts simmering beneath the ashes of a dormitory neighborhood. The protagonists of this story are A and B, infernal sisters, whose names have faded among hundreds of other anonymous names, and Mr. and Mrs. McCowell, silhouettes carved into the horrors of our time: ruthless capitalism and a greedy, greedy respectability.

The New Area

Piccolo Teatro Patafisico

Euripides's Orestes , in Sabrina Petyx's rewriting, transforms into a claustrophobic nightmare for four voices that reflects the identity crisis and unease of the new generations. In a world devoid of references, where listening is replaced by empty noise, tragedy becomes a mirror of toxic relationships and a machismo that devours every bond. It all stems from the mind of a young matricide: a vortex of guilt in which Orestes spirals, seeking a justification that doesn't exist. The ending, with its order imposed from above, is merely the final hallucination of those who prefer to believe in a divine voice rather than face the abyss. It is a necessary drama because it questions us about how much of our reality is projection and how much, instead, is the result of a void we no longer know how to fill.

Orestes

The Big Lie is the theft of truth the country has suffered over the death of Paolo Borsellino, now reduced to a tangle of lies, fake witnesses, amnesia, sly smiles, flawed trials, endless silences, and brazen, blatant lies. The text doesn't present a detailed account of the cover-up, because it isn't intended to be a pedagogical theater of memory: it is, first and foremost, an invective.

The Big Lie

Nutrimenti Terrestri

What we depict is a fight, literally to the death, between two brokers for the top spot in a company. Russian Roulette demonstrates, through a suspenseful construction similar to a psychological thriller, that the financial foundations on which the existential destinies of contemporary society rest are never questioned, sold as if they were an exact science.

Russian Roulette

With a touch of joy, irony, and lightheartedness, Grumberg invites everyone to reflect, question, and communicate on the universal theme of the confrontation of diversity through the interplay of theater and fairy tales. The Iq people worship the Sun, while the Ox are fervent worshipers of the waters of a river considered sacred. The two peoples, as often happens, are at war with each other, but the children of the high priests, Little Iq and Little Ox, proving better than their fathers, help each other, become friends, and decide to escape their fathers' warlike madness. They will set out for a new land where they can live together and found the new people of the Iqueox, learning from their fathers' mistakes and ushering in a new era of peace. The story is simple and true, and in some ways follows ancient models that have always held sway. Fortunately, it has a happy and hopeful ending. It takes place on the banks of a river populated by humans and animals and is intended to make not only young viewers reflect but also adults who have still given space to the childlike part of themselves and are open to dreaming.

IQ and OX. Two Peoples, One Border

Who was Roald Dahl? One of the most famous children's writers of all time? Well, first and foremost, he was a child himself: curious, attentive, capable of being amazed by the little things. Then he was an aviator, an adventurer, a photographer... in short, someone who never stopped looking at the world with wide-eyed, imaginative eyes. And when he happened to be a little bored, or feeling sad and alone, he just had to call them and there they came: enormous and kind giants, terrifying and hilarious witches, hungry crocodiles, cunning foxes, extravagant chocolate factory managers, glass elevators ready to fly toward the impossible. Creatures and characters that seemed to spring straight from his imagination, but that actually spoke of courage, freedom, and the desire to change things. While immersed in these adventures, Roald learned a great secret: there is nothing you can't do in life as long as you have a notebook, a pen and... a bar of chocolate in your pocket!

Child's Game

Binario Vivo APS

Three female figures from tragedy—Cassandra, Antigone, and Clytemnestra—take on voice in Sorti, spanning eras and languages ​​to interrogate the relationship between destiny, choice, and responsibility. On stage, a single body multiplies, embodying visions, rebellions, and violence, while music, created specifically for each character and also performed live, accompanies and amplifies the emotional tensions. Between myth and contemporaneity, the show constructs a sonic and physical landscape in which fate is no longer an abstract entity, but a force that oppresses, seduces, and overwhelms. An intense and layered journey into female consciousness, amidst memory, pain, and resistance.

Sorti, Women In Myth

The initial idea for The Bear's Roar stems from an attempt to provide a perspective on contemporary life similar to that of Brecht's The Terror and Misery of the Third Reich , almost a hundred years ago . If Brecht identified the rise of Nazism as the misery and tragedy of his time, in this work, the terror and misery of our times arise from the opposition between two worlds: the rich and opulent world in which we live and the marginal, poor, but majority world, on whose exploitation our development is based.

The Bear's Roar

A poetic and captivating show that speaks to children about the value of exploration, doubt, and the beauty of questions. A young prince dreams of marrying a peasant's daughter. But to win her hand, he must prove he knows something far deeper than love: the Truth. Thus begins an extraordinary journey, filled with mysterious encounters, puzzles to solve, and stories to listen to. The many characters who shape the young prince's adventure will each offer a different, enigmatic answer, always leading to new challenges.

The Young Prince And The Truth

The Years of Lead. This label stuck to my adolescence, almost to the point of making me feel guilty for having grown up in those very years and for having laughed and loved and rejoiced during those years, years when lead bullets exploded too often.

They Fought Like The Play

Teatro Invito

For her ninth birthday, Astrid Lindgren  gave her daughter Karin a book of stories about the strange little girl with upturned braids who lived all alone in a big house. And that's how  Pippi Longstocking was born .

Pippi Longstocking

Enza loved rainy days, because when the rain stopped, the rainbow with all its magnificent colors would appear in the sky. One day, however, after the sky had stopped letting its raindrops fall, the rainbow appeared only for a moment and then disappeared again, as if swallowed up by an unpleasant gray cloud. As the rainbow was disappearing, Enza clearly heard a voice calling out to her for help: "Enza, help me! They're erasing me. Enza, help me find all my beautiful colors again!" Then the rainbow disappeared. Enza, who loved observing the beauty of the rainbow, could not remain indifferent to the call for help. But how could she restore the colors to the rainbow? Thus begins Enza's experiential journey through a series of encounters and trials that will lead her to conquer the lost colors and the values ​​symbolized by each color, such as courage, sincerity, trust, hope, wisdom, and altruism. The Colors of the Rainbow is an imaginative and fun show designed for young spectators.

The Colors Of The Rainbow

Teatro di Quaranthana

The Great and Fabulous History of Commerce tells the story of the world of door-to-door salesmen in two eras: the 1960s and the 2000s. Five salesmen meet in a hotel room, sharing experiences, conflicts, and visions of the profession.

The Great And Fabulous History Of Trade

Something unexpected is jeopardizing nature and its seasons: it's cold in the summer, hot in the winter, and nothing is going right. What's happening to the weather? Will anyone be able to fix things?

Ship And The Secret Of The Seasons

Teatro Fuori Rotta - Corde Palco

In her latest creations, Luz Arcas begins with the choreographic concept of the "ultimate body," a dance of dissolution in which matter itself—the body—is called into question. The poetic engine is based on a paradox: how can we escape the body through the body itself, generating energies beyond itself—trance, hallucination, intoxication, fantasy...—that place the body beyond itself and connect it to an extraordinary space-time? The body is a medium, dance a channel. Messages come from uncertain, elusive, fleeting places. Seeking answers to this question, Arcas explores a research path, a work in progress, that begins with a key mythical figure in universal culture and the collective conscious and unconscious: angels. Angels, semi-divine bodies with human appearance, are also the first society in history. The original, perfect, pure society. Angels, a metaphysical bureaucracy, are intermediary bodies between divinity and humans, being neither one nor the other. The society of angels is the world's first hierarchy, giving an etymological meaning to the term: hierarchy, organization, government, order of sacred power. But they are also the paradigm of disobedience, the original cause of evil in the world, as recounted in the Book of Enoch. Angels not only broke and violated the limits imposed on them, but also handed technology over to humanity, and with it all the evil generated by that knowledge. Luz Arcas asks what this radical shift in the origin of evil entails culturally: from human free will—the myth of Eve and Adam, the woman, the apple, and the serpent—to divine disobedience or cosmic disorder.

JERARQUÍA Preview

A Medea of ​​today and yesterday. The myth of Medea has always existed. Numerous authors from every country and language have rewritten their Medea as a reflection of the here and now. Dea Loher, a few years ago, wrote her Medea, setting it in what is the epitome of Western culture and society: Manhattan in an unspecified period of the 20th century. Matters of the heart are treated as if they were merchandise, and assumptions are made that are advantageous to each party except Medea, who would have to accept imposed conditions and, above all, lose her beloved and her child.

Manhattan Medea

Two men, immersed in a suspended time, sit side by side on the liquid edge of the world. Before them, only the immense blue of the sea, a still mirror of an existence that seems to have lost all its coordinates. They try to fish for something that perhaps isn't there, switching places and alternating rods in a static ritual where nothing truly changes. Perhaps they are two strangers, perhaps ancient souls, or perhaps split fragments of a single person communicating with themselves. Memories and reflections on a reality that now seems distant surface from the waves. The sea becomes the guardian of disconnected thoughts and open wounds, a symbol of a lost freedom and of what once was. While the silence of the solitary fisherman protects the wait, their voices intertwine, speaking of the sky, grandparents, and dreams. They chat about life in order to continue existing. They listen to each other, confide in each other, and hold each other in an invisible embrace, seeking closeness before yet another day fades into the sunset.

'nfunn 'o Mar

Piccolo Teatro Fonderia Grock - Associazione Allunaggio

Vampirentola is a sparkling, gothic fairy tale for brave children (and adults who are still a little enchanted). What happens if the classic Cinderella is bitten by a bat? What if, instead of tears and ashes to be cleaned up, the castle tower is filled with mysteries, music boxes, crazy stepsisters, and garlicky potions? Welcome to the world of Vampirentola, a wild, gothic theatrical fairy tale where fairytale characters mingle with creatures of the night, spells, poignant memories, and gags worthy of a cartoon gone wild.

Teatro Libero

6 - 7 Nov, 2026

The Fridge

9 - 14 Nov, 2026

Stepdaughter – Almost True

20 - 21 Nov, 2026

A Kind Of Prayer

22 - 23 Nov, 2026

Miranda Circus

23 - 24 Nov, 2026

Lady Shakespeare

2 - 3 Nov, 2026

I Don't Need Anything

Oct 29, 2026

Lammerica

Teatro Libero