Armando Pirozzi

I believe that the work of the actors lies at the core of a performance and I tend to write short plots to emphasize acting. I usually draw small characters who are lost in a world that does not lend them an ear. I nevertheless try, as far as I can, to find ways to give them a glimmer of light.

Armando Pirozzi was born in Naples on October 4, 1973. He wrote and directed Cronache da un Tempo Isterico (Special Award “Nuove Sensibilità 2008”), first performed in 2009 at the Festival Teatro a Corte in Turin and then in March 2010 at the Teatro Nuovo in Naples.
He opened Napoli Fringe Festival 2009 with La Prima della Sera which he wrote and directed. His Attraverso il Furore (on Meister Eckhart), directed by Massimiliano Civica, debuted in July 2011 at the Armunia-Inequilibrio Festival in Castiglioncello.
In 2009 his Soprattutto l’Anguria was shortlisted for the Riccione Award. The play was then directed by Massimiliano Civica in October 2012 for the Romaeuropa Festival.
In 2013, the text Hard Times is the finalist at the Riccione Prize. In 2015 he wrote Highly Volatile for the third year recital of the Silvio D’Amico Dramatic Art Academy, directed by Massimiliano Civica. In 2016 with Emanuele Valenti he wrote The Sky in a Room, staged by Emanuele Valenti with the company Punta Corsara at the Napoli Teatro Festival. In March 2017, the new text A Magazine for Winter debuts at the Factory of Prato with the direction of Massimiliano Civica. This text, also selected for Fabulamundi 2017-2020, won Ubu Prize in 2017.

Characters: 2 men – available in Italian
Above All, Watermelon talks about the complicated attempt of a man to re-establish a dialogue with his brother. The difficult relationship is increasingly shown by the ostentatious silence between the two brothers, which transforms this attempt of a reunion into a paradoxical and delirious monologue. Slowly, we understand what are the deep motives of one brother to continue to speak and what are the deep motives of the other one to insist on the silence, an even more necessary silence, an impossibility to say, which is rooted in the most ancient and true pain, and which never really has words to express itself.

Characters:  2 men –available in Italian
A Notebook for Winter is a text for two actors in three scenes, it tells the story of an introverted professor of literature who, on returning home, finds a burglar armed with a knife who wants something very unusual from him: it is a question of life or death. During that night, the two characters, on a razor’s edge between hope and desperation, talk about ideas, feelings, painful doubts, in a dialogue which is new and unexpected for both of them. The two meet again years later, still to some degree bearing the traces of that night. Although experienced and remembered in very different ways, the night has perhaps outlined the possibility of a change, of a wider understanding. The central theme of the text is writing and its potential to impose a direct influence on reality: the miraculous power of poetry, not as a simple exercise of literary technique, but for the explosively vital influence it has, in spite of everything, on people.

LA PRIMA DELLA SERA (Tonight’s first one )
La prima della sera (Tonight’s first one) is a play for two characters and consists of five short scenes telling the odd story of two unemployed and penniless workers in a foreign country. If one incubates a ready-to-explode anger, the other indulges in an ecstatic fever made of strange dreams and is driven by the compulsion to continuously sing a song, as if it were a means to gain salvation. Little by little, also because of this strange musical exercise, they develop a fresh bond with one another, something that may help them resist.

– Extracts from Tonight’s first one –

D – tonight’s first one. Two more days like this and I’ll burst. Hey you. Here’s feed.
M – as long as the sea doesn’t calm down, it won’t be easy to dock this nutshell.
D – I’m going to kill him. I’ll crush his head. I really will. Have a cigarette, have one. Relax. Killing won’t help. Have a cigarette. Think they will get you soon enough. It’s been a simple mistake to come here. I almost knew it, but what are you going to do, now? The thing is, you need them to rip you off if you want them to exploit you. There you go: to be exploited daily you have to hope they’ll rip you off. And yet, most of the time they just rip you off without exploiting you. Which is the best way to exploit you, after all. Should I bring it to you?
M – if you’re not afraid of sharks…
D – there are no sharks in here! They’re in your head! There you go.
M – what’s that?
D – livers.
M – the lady?
D – yes.
M – a woman worth giving up single life for.
D – sure. Go ahead and marry her.
M – me? I wish I could. She wants you. She craves you, she covets you.
D – Shush. By the way, I don’t covet her.
M – you’re wrong there. She’s a good woman and covets you. She can cook. And she’s got money.
D – money. Oh please!
M – of course. Money. You don’t have a crystal chandelier in the kitchen if you haven’t got money.
D – what chandelier?
M – don’t pretend you don’t know which one…
D – yes, but how do you know?
M – I saw it the other day. Money, I’m telling you.
D – it’s just a detail.
M – a detail is something, these days.
D – I’m not a tramp who needs to marry a blue whale just because she’s got a crystal chandelier in the kitchen.
M – I’m not saying you’re a tramp. But you’re flat broke. We are flat broke. We can’t even go home. We’re stranded in a waste land and cannot move. It’s getting hideous and dark. The streets are covered in snow and the wolves are ready to come and get us. I can see them. Big black tundra wolves with hot-coal eyes pulsing like cigarettes in the night. Black wolves take the streets and sniff our fear. And they come and take us. They take us. They transfix us with their rusted iron fang. Wolves.
D – Enough or I’ll crush your head.
M – if you really do it, I could kiss your footsteps. And if you go on and kill me, then I’ll be your humble servant for good.
D – just go to sleep.