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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.
Portfolio
Licia Lanera and Other Libertines. The performance has been canceled
Licia Lanera, along with Giandomenico Cupaiuolo, Danilo Giuva, and Roberto Magnani, presents a theatrical adaptation of Pier Vittorio Tondelli's 'Altri libertini' at the Romaeuropa Festival. The interview with Lanera explores her deep connection with Tondelli's work, likening him to Giacomo Leopardi for his contemporary relevance. Lanera discusses the evolution of theatrical representation, emphasizing the need for a more engaged and active audience. The production intertwines Tondelli's narratives with personal and historical contexts, reflecting on Italy's socio-political changes from the 1980s to the present. Lanera's approach challenges traditional theatrical norms, aiming for a horizontal, collaborative structure while maintaining a central role in the creative process. The article highlights the enduring relevance of Tondelli's themes and the potential impact on younger audiences.
The Making of BERLIN. The Disappearance of Reality
The Making of Berlin, presented at the Romaeuropa Festival, is a theatrical production by the Belgian collective BERLIN, exploring the boundary between reality and fiction. The performance, which combines documentary cinema and theatre, delves into the microhistory of individuals against the backdrop of Nazi Germany's guilt. The narrative questions the authenticity of historical events, challenging the audience to discern between reality and representation. The production features a re-enactment of a wartime concert, highlighting the tension between historical truth and artistic interpretation. BERLIN's work prompts reflection on the responsibility of narrative construction and the ethical participation of the audience.
Tanti Sordi by Frosini/Timpano. Between Provocation and Insult
The article reviews the theatrical performance 'Tanti Sordi' by Elvira Frosini and Daniele Timpano, presented at the Romaeuropa Festival in Rome. The play explores the myth of Alberto Sordi, a significant figure in Italian comedy, through a provocative and satirical lens. It critiques the cultural and intellectual decline in Italy, using Sordi's legacy as a vehicle for broader commentary on societal norms and the entertainment industry. The performance is characterized by its grotesque and dadaist style, challenging the audience's perceptions and evoking mixed reactions. The review highlights the play's intent to provoke thought and discussion about cultural icons and their impact on collective consciousness.
NULL & VOID (by and with Agata Siniarska)
Agata Siniarska's solo performance 'NULL & VOID' at the Santarcangelo festival explores themes of post-humanism, critiquing capitalism and envisioning a new relationship with the animal and plant kingdoms. The performance, while artistically ambitious, is critiqued for its minimalism and lack of incisive ideas, despite drawing inspiration from prominent thinkers like Rosi Braidotti and Donna Haraway. The production involves collaboration with various artists and organizations, including Tanz Im August and HAU Hebbel am Ufer.
RECTUM CROCODILE by Martin M’tuomo
Marvin M’tuomo's theatrical work 'Rectum Crocodile' is a politically charged performance that critiques colonialism through a blend of artistic expression and political messaging. Set in a circus-like arena, the performance features a diverse array of costumes and monologues that highlight the historical injustices inflicted upon native populations. While the production is praised for its creativity and technical execution, the overt political agenda sometimes overshadows the artistic elements, leading to a lack of critical engagement with the material. The performance was showcased at the Santarcangelo Festival and involved a collaborative effort from various artists and organizations.
The Aesthetic Community. LiveWorks 24 at Centrale Fies
LiveWorks 24 at Centrale Fies in Dro, Italy, showcased a diverse array of performance art, emphasizing the creation of 'temporary communities' through collective actions. The event, curated by Barbara Boninsegna and others, featured international artists and performances that explored themes of memory, identity, and social roles. Highlights included performances by Valerie Tameu, Alessandra Ferrini, and Liina Magnea, as well as a guest appearance by Kae Tempest. The event fostered an environment of cultural exchange and experimentation, aligning with Centrale Fies' reputation for risk-taking and international collaboration.
Medea's Children by Milo Rau. The Sixth Act of the Tragedy
Milo Rau's 'Medea's Children' premiered at the Biennale Teatro 2024, exploring the intersection of classical tragedy and contemporary issues. The play, inspired by Euripides' Medea, draws parallels with the real-life case of Geneviève Lhermitte, who killed her children. The production features a metatheatrical approach, with children reenacting the tragedy, highlighting themes of generational conflict and societal responsibility. The play questions the limits of representation on stage and the audience's willingness to confront uncomfortable truths. Rau's work is noted for its political impact and innovative use of video and live performance.
Black Holes, Blindness, Ghosts, the Plural Theater of Andrea De Rosa
Andrea De Rosa, the artistic director of Teatro Piemonte Europa, discusses the thematic evolution of the theater's recent seasons, focusing on the interplay between science, mystery, and identity. The upcoming season, titled 'Fantasmi,' aims to explore the hidden truths and mysteries that art can reveal. De Rosa emphasizes the importance of collaboration and the challenges of maintaining artistic integrity within the constraints of limited resources and bureaucratic systems. He advocates for a more dynamic and pluralistic approach to theater, resisting the traditional capocomico model and encouraging a collective artistic effort.
The Crypt of the Capuchins (by Joseph Roth, directed by Giacomo Pedini)
The review discusses the theatrical adaptation of Joseph Roth's 'The Crypt of the Capuchins,' directed by Giacomo Pedini, as part of the Mittelfest. The play explores the transition from the old to the new Europe, focusing on the disintegration of the Austro-Hungarian Empire and the impact of World War I. The production, featuring Natalino Balasso, is noted for its static yet profound portrayal of historical lethargy, reflecting on contemporary European identity. The performance is supported by various cultural organizations and is part of the European Capital of Culture 2025 events.
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.
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