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From Frankenstein, or the modern Prometheus, by Mary Shelley.


Direction: Marco Ciccullo, Cornelia Miceli;

supervisor and tutor: Massimiliano Speziani;

with: Marco Ciccullo, Enrico Ravano, Edoardo Rivoira;

dramaturgy: Marco Ciccullo;

movements: Cornelia Miceli;

singing care: Edoardo Rivoira;

make-up: Enrico Ragaglia;

light and music design: Giovanni Tammaro.


Production: Centro culturale e sportivo Asteria; Oderstrasse.




There has been a fact that immediately caught our attention reading Frankenstein, or the modern PrometheusVictor Frankenstein is a young boy. Over the years, Hollywood cinema has accustomed us to stereotyped versions of the figure of the protagonist, transforming him most of the time into an adult mad scientist, greedy for power. At the beginning of the novel, Victor is actually little more than a teenager; he has recently begun his university studies when the idea of giving life to a dead body comes to his mind. He is a curious young man, eager to discover the secrets of the world and to do something to be remembered.
This hunger for knowledge, this mania to banish human body deseas, to overcome death and to control life, also made us think about the complicated historical period we are experiencing. What does it mean to give life back to a corpse? What are the consequences of overturning this inevitable natural law? Or rather, as human beings, how do we behave in front of this limit that we cannot overcome? In this moment  the physical distance is a very topical issue, therefore we would like to focus on the meaning and need for contact between the bodies.

On stage, there are three creatures, Victor Frankenstein's youth experiments. They outlived their creator. They live alone, on the edge of the world, exiled from the human being due to their deformity. For centuries, they have been reflecting on their existential condition: immortality. How to describe the loneliness they feel? What is the meaning of this eternal existence? Many thoughts run through them, but they never seem to get to a point. They should share the weight of these memories with someone else. But Who? the public? Could this be a way to mend the relationship with the human being? Perhaps, by sharing their story, they could finally free themselves from the burden that torments them. Therefore, the play originates from this reconciliation attempt.

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