My approach to writing for the theater was initially literary, only later did I start imagining the stage. With practice – during my own training at the Academy and rehearsals with actors for the staging of my first plays – I radically changed my way of writing. I start from reality, from questions I cannot answer, from intuitions that put what I believe in doubt. I try to disorient others and surprise myself as well, not only because it’s fun, but because it’s one way I use to get to know myself and reality better. I like to tell stories set in the present, stories that are easy to understand but hard to interpret.
Emanuele Aldrovandi (Reggio Emilia, 1985), a graduate of Philosophy from Parma University and Literature from Bologna, trained as a playwright at the Paolo Grassi Civica Scuola di Teatro in Milano.
He has written numerous texts and adaptation for the stage, and received some of the most important awards for contemporary Italian drama, including the Premio Hystrio Scritture di Scena 2015 for Farfalle/Butterflies, the 2013 “Pier Vittorio Tondelli” Riccione Prize for Homicide House, and the 2012 National Luigi Pirandello Prize for Felicità/Happiness.
In recent years, he has been working with Centro Teatrale MaMiMò, and often on joint projects with other artists and theater companies. He holds an annual drama writing course in Reggio Emilia and takes part in various workshops throughout the length and breadth of Italy. His work is published by CUE Press.
2013 / Farfalle, Premio Hystrio Scritture di Scena 2015. Mise en espace at Teatro Elfo Puccini on 2015.
2013 / Homicide House, Premio Riccione “Pier Vittorio Tondelli” 2013. Mise en espace al Teatro Valle Occupato on 2013,first rapresentation : 2014, Festival Internazionale Castel di Mondi di Andria.
2012 / Funziona meglio l’odio, Segnalazione al Premio Hystrio Scritture di Scena 2012. Mise en espace at Teatro Elfo Puccini on 2012.
2011 / Felicità, Premio Nazionale Luigi Pirandello 2012.
2011 / Il Presidente.
2010 / Il Generale, Premio Fersen 2013.
2014 / Casa di bambola, first rapresentation : 2015, Napoli Fringe Festival.
2014 / Scarpette rosse.
2013 / Elvis e il Papa (dall’Eutifrone di Platone), first rapresentation: 2014, Teatro Piccolo Orologio, Reggio Emilia.
2011 / L’isola del tesoro, first rapresentation: 2012, Teatro Piccolo Orologio, Reggio Emilia.
Two sisters, a blonde and a brunette. Their mother killed herself when they were young; their father abandoned them and fled to Brazil with another woman. Living alone together since they were small, each being the entire family of the other, they invented a curious game to pass the time.
Their father returned when they turned twenty-one, announcing that he was no longer required to pay the rent on their apartment while proposing a way for them to avoid homelessness: the arrangement of marriages with two loathsome but extremely wealthy forty-year men.
The blonde accepts but her sister refuses, and consequentially the two separate for the first time in their lives.
The play’s three acts represent three key moments of their lives and present a story of personal growth and sisterly love in which the discovery of oneself does not necessarily coincide with the comprehension of the other.
With his small business on the verge of bankruptcy, a man is suddenly asked to repay all his debts at once. Lacking the funds necessary, fearing for the safety of his wife and children, he accepts to enter a place in which “complementary needs as yet not filled by the market may be traded in exchange”: those who feel the need to kill can pay a victim for the privilege; victims ready to die may receive funds to be left to their families.
This text won the most important award for new Italian drama, the Pier Vittorio Tondelli” Riccione Prize with the following motivation: “Innocent yet sinister parable on the blurred line between the false and the true, an introspective text with an ironic-fairy tale turn (a macabre fable with no happy ending), Homicide House is a courageous attempt at ‘vertical’ dramaturgy with a theoretical/conceptual framework that enacts a ‘soft’ circumvention of tragedy. If the dilemma the story revolves around prosaic normality (in short: can lies be used for the purpose of good, or at most, the lesser evil?), the characters show themselves capable of representing philosophies with determined poetics in addition to being real people: it is no coincidence that the man who hides his weakness for indebtedness from the woman he loves purely for the pleasure of doing so must conduct his shady business transactions with sordid figures like Dotted Shirt and Stiletto Heels, managing to save his skin without any real force but instead the timely use of the word. Homicide House is a mechanism of psychological aggression that wounds and slays by reasoning in place of weapons of torture. An original idea at the heart of the text and a lively use of common language in the alternation of both isolated and action advancing monologues with electrifying dialogues make the text a successful and promising experiment.”
Il presidente (The president)
The elegant dinners and parties regularly held at the President’s villa are enlivened by swarms of attractive young girls ready to offer themselves in exchange for money and work in show business. Minnie looks like the others, but she’s actually a freelance journalist with more than just a scoop in mind: she hopes to assassinate the president. She finally gets her turn alone with him behind closed doors at the villa, but the game of mock seduction she begins takes a surprising turn.
“Inspired” by certain events involving former Italian Prime Minister Silvio Berlusconi (whom the protagonist explicitly resembles), the text offers paradoxical reflections on the nature of power, its holder, and those who come up against it.