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part III of Il Migliore dei mondi possibili
playwright in collaboration with: FRANCESCO NICCOLINI
sound effects: FABIO VIANA
video and costumes: ALDES
organisation: SIMONA CAPPELLINI (2006/2007)
with the support of: Mibac MINISTERO per i Beni e le Attività Culturali / Dip. Spettacolo,REGION of TUSCANY / Regional System for Performance
  • RACCONTA_RCastello AMoretti_fotoLaura Arlotti.jpg
    © (null)
  • RACCONTA 31_foto AndreaBernardi_B.jpg
    © Andrea Bernardi
  • RACCONTA 106_foto AlvisePredieri_B.jpg
    © Alvise Predieri
  • RACCONTA 93 foto AndreaBernardi_mail.jpg
    © Andrea Bernardi

Like the rest of “The Best of All Possible Worlds”, “Racconta” (Narrates), the third work in the ten-part series also portrays the present, this time by describing the daily life of a couple and the people who orbit around them. Each segment of “The Best of All Possible Worlds” is centred around a dominant linguistic element and in “Racconta” speech is linked to gesture, sound and images in the quest for a form that can integrate the different linguistic planes enough to render obsolete any critical interpretations based on the assumptions such planes are governed by.


>>> The video documentation of the performance is curated by the filming direction of Sudio Azzurro and wins the Italian Prize TTV for the Theater of Riccione in 2008


Massimo Marino – Hystrio n.4 – Oct./Dec. 2006
“(…) A recount of every day life that is brimming, mixed up, ready to expose the void of words and an acceleration of images on screens, like in a slot-machine, where the imagination of day to day life is played with expressionless faces, demonstrations, signs, flaking walls, as the various findings of our world. Roberto Castello and his talented company bring to stage an immobile story or a photograph that tends to free itself from the pose without succeeding; overexposed or burned in certain parts, an icon of every-day life invaded by a void, one that is incapable of holding back the confusion of words, signs and senses… Life runs like a poorly exposed film reel in this rigorous, ironic fresco of impotencies. (…)”

Giorgio Sebastiano Brizio per Terzoocchio n.121 – 2006
“(…) … and among the many attempts at a new style narrative that confirm the affirmation of themes in the work of new companies, this is certainly a work that can be set among pearls -“Racconta. Prima tappa” (Story telling – First step), a project by Roberto Castello for Fabbrica at Gambettola in the Santarcangelo Review’06. Sixty minutes of direct action mixed in with mimetic stops of commonplace phrases and danced gesture in the commonplaceness of their prosaic development, which transform Castello and company into story-tellers, dancers equipped with words that are as fragmented as acute corporeal down-times in human contrast with the socio-political incidents that run uninterrupted on two video screens. (…) In this “Racconta”, the idea develops fluidly in a story between the living and a static fixture, both refined and minimalist (…)”

Giorgia Sinicorni – – July 2006
“(…) ... Roberto Castello’s Racconta, constructs a radiograph of domestic situations. A sequence of everyday movements that freezes into immobility, revealing not only the plasticity of bodies on stage, but also the subtle irony that inhabits them. Moving ideally to the polar opposite of virtuosity, the eye of the choreographer fathoms ordinary gesture and word to fit them into almost cinematographic arrangements. The result is both gentle and rigorous at the same time. A return back home, in a certain sense, but in an aquarium-house, in which the dynamic among individuals is deconstructed, allowing for the plastic and spatial weaving that supports them to emerge. (…)”

Antonella Lamparelli – Flashteatro – luglio 2006
“(…) The boundaries between improvisation and pre-meditation in this show are very subtle, and the praise to be given to these actors is probably for their accomplishment of this. The debut of a growing organism in evolution -gifted with life- and for this reason, highly theatrical in the fullest sense of the word. A very interesting formal experiment, and great skill in dealing with themes such as “happiness” (the true unknown), which blossom in a subtle yet sometimes dazzling way, yet never pedantic.