At 8.45 pm
In italian language
by Carlo Goldoni
dramaturgy by Piermario Vescovo
with Franco Branciaroli
and with Piergiorgio Fasolo, Alessandro Albertin, Maria Grazia Plos, Ester Galazzi, Riccardo Maranzana, Valentina Violo, Emanuele Fortunati, Andrea Germani, Roberta Colacino
in collaboration with I Piccoli di Podrecca
directed by Paolo Valerio
sets by Marta Crisolini Malatesta
costumes by Stefano Nicolao
lights by Gigi Saccomandi
music by Antonio Di Pofi
stage movements by Monica Codena
production: Teatro Stabile del Friuli Venezia Giulia, Teatro de gli Incamminati, Centro Teatrale Bresciano.
"What greater misfortune for a man, than to make himself the hatred of the public, the scourge of the family, the ridicule of servitude? Yet my Todero is not an imaginary character. Unfortunately, there are those in the world who resemble him; and at the time this play was performed, I heard of more and more originals from whom they believed I had copied him".
Even today, it is not uncommon to come across a ‘brontolòn’ such as Carlo Goldoni's Todero, who preceded the play by enclosing these reflections in L'autore a chi legge (The author to the reader ) and was astonished at how a work centred on such an odious and negative character could have received such success from the public. Sior Todero brontolòn, written in 1761 and presented at the Teatro San Luca in Venice the following year, was indeed warmly received, revived for 10 performances in January and then again in February, in October
Sior Todero responds - as a character - to the model of the rusteghi, but of the four Venetian gruff men he loses any good-natured accent. The plot has him miserly, imperious, irritating with the servants, oppressive with his son and granddaughter, distrustful and touchy towards the world. It would seem impossible to empathise with such a figure.
Yet Goldoni's masterpiece - and the masterfully written figure of Todero - were much sought after by theatres and the greatest actors, from Cesco Baseggio to Giulio Bosetti to Gastone Moschin.
Now this indefensible ‘brontolòn’ attracts a master of the contemporary stage like Franco Branciaroli, who - directed by Paolo Valerio - offers an extraordinary and unexpected new interpretation.
After their original and desecrating interpretation of Shylock in Shakespeare's The Merchant of Venice, Paolo Valerio and Franco Branciaroli are about to amaze the audience with their reinterpretation of a classic of Italian theatre, which can still suggest much to contemporary sensibilities.
Suffice it to think - in the face of such an imposing and attractive protagonist figure - of the subtle and decisive role that Goldoni entrusts, in the play, to the female world, the only one that in the dramaturgical development appears fully positive: it will be the alliance between the courageous daughter-in-law of the old miser and the intelligent widow Fortunata that will save the young Zanetta from a marriage imposed on her out of mere interest and harbinger of unhappiness. She will be returned to generous and true love in a finale that - at a time when the concept of ‘patriarchy’ dominates our chronicles in its most distorted and leaden meanings - weaves a vein of turmoil into the joyfulness of the resolution.
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