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Check FAQAbout Sergio
Sergio Lo Gatto is a journalist based in Roma, Italy. Born in 1982. Lives and works as a freelance theatre critic and cultural journalist in Rome/Italy. He is PhD Candidate in Theatre Studies at the Sapienza University of Rome, with a doctoral thesis in theories of criticism and digital philosophy. At Sapienza University, he holds a permanent workshop in Methodology of Theatre Criticism and Critical Writing. He is one of the founders of and Chief Editor for the independent daily web magazine Teatro e Critica. He contributed to major national newspapers, has been a member of the editorial board of the monthly magazine Quaderni del Teatro di Roma (published by the National Theatre in Rome between 2011 and 2015), he also reports for Tanz (Germany) and Plays International & Europe (UK). He is editorial assistant for Conflict Zones Reviews (international web magazine published by the Union of European Theatres – UTE / co-funded by Creative Europe). He’s one of the founders of WritingShop, a team of four writers from four different European countries that launched a program of itinerant residencies for critics, aimed at developing an international point of view on theatre and performing arts through an experiment of collective writing.
English
French
Italian
Portfolio
How Everything Tends
Sergio Lo Gatto reviews 'Come ciò a cui tutto tende,' a theatrical performance by Valentina Beotti and Federica Principi, which addresses climate change through the metaphor of stranded whales and human responsibility. The play, supported by Fortezza Est, features Beotti's expressive body language, honed through her previous work with Ricci/Forte and Dante Antonelli/Collettivo Schwab. The review praises Beotti's mature writing and Principi's sound design, which together create a poignant reflection on the relationship between humans and the environment.
Review of Cordelia
In Bologna's vibrant AtelierSì space, a meticulous and bold experiment titled x-machine was conducted by Federica Amatuccio and Andrea Gianessi of Teatro dei Servi Disobbedienti. The performance featured a trio of performers and musicians, Federica Furlani, Jacopo Giacomoni, and Marco Puzzello, whose instrumental notes and dissonances intertwined with their physical movements amidst a crowded space of chairs. The production explored the concept of devices as a relationship of forces, knowledge, and power, reflecting on media as a threatening interface to the world and the progressive disappearance of reality. The performance was seen as a didactic parable, where human individuality is lost among mysterious algorithms, leading to a loss of the capacity to think.
The Fault
In the post-apocalyptic fable 'The Fault' by French playwright Adèle Gascuel, characters Dan and Balt, portrayed by Daniele Amendola and Valerio Malorni, are confined deep within a fissure in the earth, tasked with pumping concrete in a now uninhabitable 'world above.' The play, directed by Simone Amendola, features a minimalist set suggestive of a landfill and employs a smoke machine to create a dense, metaphorical atmosphere. Despite the creative efforts and the actors' presence, the text's immaturity seems to prevent a deep exploration of collective wounds, resulting in a performance that pays homage to Beckett's desolation without matching its incisiveness.
The Lucid Dream of Generation T. Enduring Love
The article reflects on the enduring creativity and diverse languages of Italian performing arts, highlighting the role of Centrale Fies in Dro as a hub for artistic experimentation. It discusses the evolution of the 'Generation T' of artists and the impact of Centrale Fies' curatorial approach, which has fostered a space for dialogue and evolution within the arts. The piece also describes the immersive experience of the Enduring Love event, where artists and audiences engaged in a shared, lucid dream-like state of artistic exploration.
We are here to try. Between theater and cinema, exercises in disappearance
Siamo qui per provare is a documentary film by Greta De Lazzaris and Jacopo Quadri that captures the creative process behind the theater show Avremo ancora l’occasione di ballare insieme by Daria Deflorian and Antonio Tagliarini. The film, which premiered at the Giornate degli Autori during the Venice Film Festival 2022, explores the fragile art of creation and the relationship between cinema and theater. It presents a non-hierarchical narrative structure across three levels of reality: private life, rehearsal room, and the dramaturgy of the show. The film is described as a respectful and ingenious remediation of a complex system of relationships between people, biographies, scenic writing, and direction, highlighting the tenacity of art to protect its 'aura' and its necessary political function.
Dance as the Poetic Nourishment of Man: An Interview with Virgilio Sieni
Virgilio Sieni, a renowned dancer, choreographer, and teacher from Florence, has been appointed as the Director of the Dance Section at the Biennale di Venezia for 2013-15. Sieni, who founded the Compagnia Virgilio Sieni, is known for his poetic and narrative dance sequences that draw from his diverse training in classic and contemporary dance across Europe, the USA, and Japan. His works often incorporate philosophical and anthropological texts, as seen in his adaptations of Lucretius' 'De Rerum Natura' and Claude Lévi-Strauss' 'Tristes Tropiques'. In his new role at La Biennale, Sieni plans to emphasize training and the creative process, integrating various art forms and social sciences, and exploring the body as a poetic expression. The Biennale della Danza Festival under his direction will commence in Venice in June 2013.
The Generation of Joyful Knowledge
The article discusses 'Silver Sufer,' a theatrical production that explores the relationship and contrasts between millennials and older generations, often referred to as 'silver surfers.' The play seems to delve into the various facets of these groups, highlighting both their contradictions and similarities. The production is described as an experimental endeavor, suggesting that it may incorporate innovative or unconventional theatrical techniques to express its themes.
Major online magazine about theatre and dance (mainly in Italian)
Theatre on video. The figure theatre of Neville Tranter
Sergio Lo Gatto discusses the figure theatre and the work of Australian artist Neville Tranter, head of the Stuffed Puppet Theatre. Tranter's work, which combines puppet construction and manipulation with pure acting, physical theatre, and ventriloquism, is highlighted for its exploration of grey areas between animation, illusion, and storytelling. The article describes a scene from Tranter's 1985 show 'Underdog' and includes a translation of the text heard in the video. The piece also references Philippe Genty's perspective on when to use puppets in theatre.
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