Roberto Scarpetti-001

For me, theatre and playwriting is something that breaks the flow of forced reality that surrounds us. It is to move everything to another communication plan, a direct communication with the public, passing through the word, the stories, the work of the actors. It is a continuous exchange with the viewers that creates a real, shared, present experience. And so alive, true. For me, the theatre is one of the few places where you can live a real moment of social, artistic, human sharing. A place for reflection, identification, comparison, in which it is still possible to open to others and to observe the world from a different point of view, leaving the obsessive closure in oneself to which our contemporary society has brought us.

See below all the activities involving Roberto Scarpetti in the frame of Fabulamundi.

Resident playwright at Teatro di Roma directed by Antonio Calbi, Roberto Scarpetti (Rome, 1970) graduated in Screenwriting at Centro Sperimentale di Cinematografia and in Political Sciences at Università degli Studi di Roma La Sapienza. In 2011 he won the Special Mention Franco Quadri at Premio Riccione, with the play Viva l’Italia – Le morti di Fausto e Iaio, that was later produced by Teatro dell’Elfo and directed by César Brie, in co-production with Teatro di Roma. With Viva l’Italia – Le morti di Fausto e Iaio, he also won the prize Franco Enriquez 2014 for best playwriting and received a nomination as “Author of Original Italian Play” at Premio Le Maschere del Teatro Italiano 2015. In the 2016 Viva l’Italia was aired in a French radiophonic version on France Culture.
In 2014 he wrote Roma/est for the collective play Ritratto di una capitale, directed by Fabrizio Arcuri and  produced by Teatro di Roma. In 2017 he collaborated again with Fabrizio Arcuri, as dramaturg this time, for the collective play Ritratto di una nazione, l’Italia al lavoro, also produced by Teatro di Roma.
In 2016 he wrote Prima della bomba, working together with César Brie in a production by Teatro di Roma and Campo Teatrale. Thanks to Prima della bomba he received the second nomination as “Author of Original Play” at Premio Le Maschere del Teatro Italiano 2017. Also in 2016 he wrote and directed 28 battiti, a production by Teatro di Roma. The play, with the direction of Ricardo Cabaça, was staged in Lisbon in Portuguese in March 2017. He wrote the collective play La flamme qui brûle les mots essentiels during a residence time at Theatre de la Ville in Paris, among the festival Chantiers d’Europe.
In 2011, he co-wrote Summer Games, a feature film directed by Rolando Colla, that premiered at the “68th International Venice Film Festival” – Official Selection. Summer Games was Switzerland’s choice for Academy Awards’ Best Foreign Film pre-selection in 2012 and it won the Swiss Film Prize for Best Screenplay. In 2016 he wrote Magic Island a documentary directed by Marco Amenta and nominated as best documentary at David di Donatello 2017 Awards. In 2017 he wrote the screenplay Dove non ho mai abitato, a movie directed by Paolo Franchi. He was awarded with the special mention at Premio Franco Solinas 2010 for the playwriting Braccia tese.

BEFORE THE BOMB
Characters: 5 men, 1 women – available in Italian
An underground carriage of a large Italian city, at peak time. Among the passengers, David is sweating, he is upset. In his backpack, a homemade bomb. He holds a light switch, connected to an electric wire, hidden inside the sleeve of the sweatshirt he wears. It is about to operate the detonator. But how did David get to the point of exploding? And for what reason? The bomb was prepared by him with two of his comrades, Karim and Rafiq. The first is an Italian converted to Islam, just like him. The second is an Afghan fundamentalist. They started talking when David, who as a Muslim has chosen to call himself Ibrahim, met Karim and his conversion turned toward a more radical, integralist belief. The ideological framing is very precise and propaganda seems to have taken on who, like David, thought he wanted to change the world. How many civilian casualties, men, women, and children are killed each day by US drone bombs? How many innocent Muslims die unnecessarily? It’s a new Shoah, with Muslims instead of Jews and with the West playing the role of the Nazis. That is why David, Karim and Rafiq feel they have to do something, feel they have to help their Muslim brothers in the name of Ummah, the Islamic nation. Yet this is not what David thought when he talked about changing the world. When he converted, David was looking for something else. He sought a sense of belonging, something to feel involved with, a new purpose that would help him out of a period of profound personal crisis. And he had found it in Islam, he had found it in friends met at the mosque, Ahmed and Jusuf, who had taught him to pray, who had opened the door to the understanding of Islam and its thousands rules. And as a true new family, as he was coming from the source, Ahmed and Jussuf had also tried to explain to Davide the many deviations of integrity.
Uselessly

28 HEARTBEATS
Characters: 1 man – available in Italian
Giuseppe won the Olympics. And he destroyed his life: with doping.
He used doping. To win again? To stay strong? To continue to have the success he was used to? Not to disappoint the fans?
In an intimate confession to the doctor who certifies his positivity, Giuseppe opens to the truth. A truth that digs in his dreams, his needs, in hate and in the love he has always felt for his sport.
A self-destructive and creative truth. Because for Giuseppe, doping is the only chance to be himself, bluntly refusing everything he never wanted. He never asked for.
A truth that pulsates in the beats of his heart, flowing in his blood. That changes and shapes his body. Like sports.

East Rome (accidental death of a nurse)
A quarrel over petty things. The fight between a Roman woman and a Rumanian boy. Insults and impulsive reactions. A tense confrontation, like so many other in Rome’s daily life, when one gives way to anger for the slightest thing – traffic, a push in a crowded bus or a glimpse too many. This time the boy does not stop at insulting and goes past the boundaries of respect and human society altogether.

Viva l’Italia (Le morti di Fausto e Iaio) Hooray for Italy (The Deaths of Fausto and Iaio)
May the 18th, 1978. Two days have passed since the kidnapping of Aldo Moro, president of the Christian Democrats by the Red Brigades, but this story of Italy’s Anni di Piombo doesn’t take place in Rome, it takes place in Milan.
At 8 o’clock on a Saturday evening like any other, two teenagers, Fausto and Iaio are shot dead by three men up in Milan from Rome.
Fausto and Iaio are killed and Viva l’Italia follows those who survive them: Angela, Iaio’s mother, Giorgio, one of the killers, Salvo, the policeman in charge of the investigation, and Mauro, a journalist who starts his own investigation.

Edition 2015-2016