Tindaro Granata

Tindaro Granata


At this time I feel rootless, homeless, unemployed. I fight this uneasiness, which is so common amongst my contemporaries, by living, acting and writing, confident that I’ll be able to change my fate. I want to be author of my own future, the future of “now” or that of “in a while”, if need be. I draw on my past, since that is where both sorrows and joys hide, the hope for the future. I write because I want my theatre to jut out of both my roots and reality. I want it to be nourished with human beings. Theatre has to be both my wife and my husband!

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Tindaro Granata was born in Tindari (ME) in the second half of the 20th century.
He graduated at Institute for Surveyors in Patti and at the age of twenty he embarked on Ship Spica, as a gunner mechanic. After spending a year at sea dealing with the management and maintenance of the defense weapons of the military ship, in 1999 he moved to Rome dreaming of doing theater. For a living, he works as a salesman in various shoe shops and as a waiter in trattorias and restaurants.
He didn’t receive an academic education. His theatrical research set off in 2002 with Massimo Ranieri with Pulcinella, directed by Maurizio Scaparro. After a knee injury, he stopped acting for two years, starting over with difficulty, but finding many professionals on his path who help him improve and grow. In 2009 he left Rome and moved to Milan.
Since 2006 he works together with Carmelo Rifici in several important shows, including Ifigenia, liberata. He is directed by Serena Sinigaglia in Il libro del buio and in 32 seconds and 16. Andrea Chiodi directs him in various theatrical projects, among which we remember The Mistress of the Inn and The Taming of the Shrew.
He made his debut as an author of himself in 2011 with Antropolaroid, a show on the history of his family, staged with an original reworking of the ancient technique of “Sicilian cunto”. The play won the “Anna Pancirolli Theater Scholarship”, the “ANCT 2011” Award as Best innovation show and the “FERSEN” Award. After that, he stages Invidiatemi come io ho invidiato voi, story of a case of pedophilia really happened in Perugia in the early 2000s, winning the “Mariangela Melato” Award as Best emerging actor, the “FERSEN” Award for Direction, the “ENRIQUEZ” Award for Dramaturgy for civil commitment and also the International Prize “Sicilian Pride in the World”.
Geppetto and Geppetto, with which he addresses the theme of “stepchild adoption” and the relationship between fathers and children, receives the “UBU 2016” Award as Best new dramaturgical project, the “Hystrio Twister 2017” Award as Best show of the year, the “ENRIQUEZ” Award as Best show for civil and social commitment and the “Mario Mieli 2017” Award as Best show of the year.
As a playwright, he writes on commission Farsi Silenzio, a lay pilgrimage in search of what is sacred today. He also writes Daedalus and Icarus, story of a father (Daedalus) who tries to understand and accept his son’s autism (Icarus). He will play the role of Tom, in Lo zoo di vetro, directed by Leonardo Lidi, and in Macbeth – The hidden things, directed by Carmelo Rifici, and Materia Oscura, written by Davide Carnevali, co-directed by Proxima Res/Rifici.
He is the Artistic director of theatre company Proxima Res. He also directs a review of contemporary dramaturgy called Situazione Drammatica – IL COPIONE which aims to make the audience read texts.

Invidiatemi come io ho invidiato voi (Envy Me The Way I Envied You) 
A woman has an affair with his husband’s boss. They meet secretly. The woman, mother to a three-year-old daughter, plans to leave her husband to move in with her lover. To get her daughter to get used to a new male figure, other than her father, the woman often sends her child to his lover. The man is paedophile and the child dies after an act of abuse. The woman is found guilty of connivance and sentenced to 15 years imprisonment. She knew. Everyone gives their own accounts of the facts, pursuing a truth that does not take notice of the dead child.

There are seven characters and they can be played by six actors:
ANGELA ABBANDONO, the defendant
HUSBAND, Agostino Poletti
MOTHER, Anna Rosa Grata
SISTER-IN-LAW, Francesca Poletti
NEIGHBOUR, Antonietta Carbone
FRIEND, Giuseppina Lembo

-Extracts from Envy Me The Way I Envied You

NEIGHBOUR – I looked at the scene from my window. The TV-set in the kitchen was on, it spoke. I turned to the screen and there I saw what I saw from my window. I was stuck. Voices were coming from all sides. I couldn’t tell the real ones from those of the telly. I walked to the TV-set and, the moment I saw Angela, I got the shivers. I got so puzzled… I thanked God for having such good kids: so well-behaved and always sensible. The TV was speaking but I wasn’t listening. I was too happy I had never become so familiar with her. She had never been in my house, not even for a coffee, not once. We’re sensible people. We’re content with our lives. We’re happy.

ANGELA – Forgive me. If I could make things undone… I wouldn’t do some of those things. You were so beautiful, my love; of course he was crazy about you. You were so beautiful. He looked at your naked body to see me… and took you to take me. I had no luck in life. I should’ve protected you more… taken you out the public gaze. They didn’t let us live happily. He could have given us happiness. No doubt. If you hadn’t been so weak… if the worst hadn’t happened… it was the evil eye. He caressed you to love you… not to harm you. He caressed me as well, but nothing happened to me… you see? I’m still here. He needed love and we both had to give him love. You were always such a live wire, my love. He must have tied your tiny hands… your tiny feet… you couldn’t fathom his love for us. Your father didn’t love you the way he did. When I met him, my sixth sense immediately told me he was the right one to save us from our condition. We were unhappy. You were to have an unhappy life, my love. He was our happiness (weeps). He was happiness incarnate. He was happiness. He was happiness. That was all I wanted. It was you, me and him. We were a perfectly normal family. He was happiness… and they turned him into a monster, who ate you out of love. And now you aren’t there anymore. Only out of love, my love.

HUSBAND – Tell me what to do. I’m alone here. I can’t cook. You can’t expect me to do household-stuff. The child would have grown up to be a doctor. She would’ve cured us in our old age. What should I do, Angela? Should I cry? All right then… (cries)

TRAMONTO – The child was crying too much. My tool was completely wet. I knew one more thrust would’ve been enough to enter her and cum. One single small thrust and I’d have cummed. I already was inside her tiny arse… she was crying. No sooner was I in her than she froze… and she cried… but silently, for a couple of seconds. Then she screamed in a way that shocked me. I got scared. My cock got flabby and couldn’t go on. I soothed her a little. We ate a chocolate ice-cream. As soon as I got my hard-on back I tried to take her from the front.

SISTER-IN-LAW – It’s all gone the way it should have. Like mother, like daughter: two sluts. They took me my brother away. I would’ve made him happy. She couldn’t do that… she didn’t really know my brother. I would’ve done everything for him. I got married because he told me to. A friend of his married me. Now it’s all settled down, there will be quiet. And we’ll all be happier. Again we will spend our holidays together… at our dad’s in summer. Thank you God for having blessed me with a quiet life with my brother –. Now it’s all settled down, we’ll be happier.

(A tape plays the voice of a laughing child)

MOTHER – How I cried over that child… and now I’m crying for you. You, who got talked into it. Didn’t I teach you anything? Now you’ve got to pay. I wouldn’t have done such a mistake. So much the worse for you, my child. Even worse is that I won’t be grandma, I’ll die as a mother… the mother of one who couldn’t be a mother like me. That age has come to an end. No-one understands you, my child, they don’t get that you’re weak; they think you’re tough and they condemn you. There’s no understanding for sorrows anymore. But Angela is tough. She’s tough. She’s so very tough that she breaks.

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