fbpx Biennale Teatro 2022 | Belova / Iacobelli - Loco
La Biennale di Venezia

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Theatre

Belova / Iacobelli - Loco


Length / Year:60', 2021, Italian premiere
Direction, dramaturgy, interpretation:Tita Iacobelli
Based on:Diary of a Madman by Nikolai Gogol
Direction, dramaturgy, scenography and puppetry:Natacha Belova
Interpretation:Tita Iacobelli and Marta Pereira
Choreography and exterior look:Nicole Mossoux
Collaboration of:Sophie Warnant
Lighting design:Christian Halkin
Sound design and music:Simón González
Puppets:Loïc Nebreda
Assisting dramaturgy and looking outside:Raven Rüell
Costumes:Jackye Fauconnier
Scenography and staging assistant:Camille Burckel
Production:Ifo Asbl & Belova-Iacobelli Company
Coproduction:Théâtre National Wallonie-Bruxelles, Théâtre de Poche Bruxelles, L’Atelier Théâtre Jean Vilar Louvain-la-Neuve, Maison de la Culture de Tournai, Festival Mondial de la Marionnette Charleville-Mézière, Fondation Corpartes Santiago, Chili, Le théâtre de la Cité de Toulouse
Lighting:Gauthier Poirier Dit Caulier, Création Studio, Théâtre National, Wallonie-Bruxelles
General production:Javier Chávez
Artistic production:Daniel Córdova
With the support of:Fédération Wallonie-Bruxelles Arts de la scène
Note:Recommended for ages 12 and above

Description

The theatrical project LOCO is inspired by the Russian author Nikolai Gogol’s short story Diary of a Madman, by Gogol’s own life and mental illness, and in part by our own experiences.

Nikolai Gogol’s Diary of a Madman is an absurd tale about the thin line between reason and insanity. The story’s main character is Poprishchin, a lowly civil servant whose life is thrown into turmoil following an encounter with the director’s daughter, Sofi. The love he feels for the inaccessible Sofi sets him on a delirious search for identity. “Maybe I am an earl or a general. Why do I look as if I’m just an insignificant employee? Maybe even I don’t know who I am”. As he puzzles over his status, he is compelled to question and investigate everything – even Sofi’s dog, Meggy. Eventually, madness offers Poprishchin the chance to break free of his miserable lot in life when he proclaims himself Ferdinand VIII, King of Spain. The deception briefly lifts Poprishchin out of his despair, only to plunge him deeper into ruin: the long-awaited “Spanish deputation” will soon arrive to escort their King Ferdinand... to the asylum.


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