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Anagoor - Orestea. Agamennone, Schiavi, Conversio

(2018, 240’)

on Aeschylus’ Oresteia
dramaturgy Simone Derai, Patrizia Vercesi
translation from Greek Patrizia Vercesi, Simone Derai
line of thoughts S. Quinzio, E. Severino, S. Givone, W.G. Sebald, G. Leopardi, A. Ernaux, H. Broch, P. Virgilio Marone, H. Arendt, G. Mazzoni
with Marco Ciccullo, Sebastiano Filocamo, Leda Kreider, Marco Menegoni, Gayané Movsisyan, Giorgia Ohanesian Nardin, Eliza G. Oanca, Benedetto Patruno, Piero Ramella, Massimo Simonetto, Valerio Sirnå, Monica Tonietto, Annapaola Trevenzuoli
voice of the messenger Pierdomenico Simone
dance Giorgia Ohanesian Nardin
music and sound design Mauro Martinuz
sound assistant Ludovico Dal Ponte
Gustav Mahler, Kindertotenlieder no.1 played by Massimo Somenzi
set and costume design Simone Derai
costumes Serena Bussolaro, Christian Minotto
accessories Christian Minotto, Massimo Simonetto, Silvia Bragagnolo
movable sculpture Istvan Zimmermann and Giovanna Amoroso – Plastikart Studio
video Simone Derai, Giulio Favotto
video / camera, cinematography, post-production Giulio Favotto
video / concept, editing, direction Simone Derai
light design Fabio Sajiz
technical assistant Mattia Dal Bianco
project assistant Marco Menegoni
assistant director Massimo Simonetto
direction Simone Derai
organization Annalisa Grisi
management and promotion Michele Mele
production Anagoor 2018
supported by Fondation d’entreprise Hermès within the framework of the New Settings program
co-production Centrale Fies, Teatro Metastasio di Prato, TPE – Teatro Piemonte Europa, Teatro Stabile del Veneto
with the support of Theater an der Ruhr
with the support of Compagnia di San Paolo
technical sponsors Lanificio Paoletti, Printmateria, 3DZ
thanks to Ministero della Cultura e dello Sport della Repubblica Greca, Museo Archeologico di Olimpia, Istituto Italiano di Cultura di Atene, Lottozero / textile laboratorie

Strobe lights are used during this performance.


The Greeks invented the idea that the being ends in nought, causing the West to be engulfed forever in its grief. Philosophy was conceived to soothe this grief which is the foundation of the West: we believe that every single thing that changes must pass through an absolute end, a total annihilation that leaves us breathless and drives us to madness. The terrible consequence of this madness is that every existence perceives the threat of annihilation and is ready to brave anything. Aeschylus, with his theatre which was initially a philosophical practice, was the first person in history to use thought as a means of rejection, an absolute rejection of this grief.

Today we have no categories that can help us perceive the shock of the sacred felt by the Athenian citizen attending the tragic performances. Anagoor takes on Aeschylus’ Oresteia from this immeasurable distance.

Aeschylus’ play was adopted in the complete version at the start, though condensing and expanding its fundamental nuclei with languages and techniques dear to Anagoor (vision, song, oration), until it was betrayed, supplemented or replaced with an intertextual archipelago that complicates the horizon of the meditation on evil and on the fragility of good, and on the language that describes them.

Against the background the ontological discourse that is the scaffolding for all of Western thought, its intimate contradiction and its danger; in the foreground the faith in a persuasive word capable of enchantment, which dissolves like fog in the sun, or softly tames, the grief that comes from the absolute belief that the human being ends in nought.

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