“Story of a Body” is the journey of a lifetime, an extraordinary journey within an existence. A tender and surprising postmortem gift in diary form from a father to his beloved daughter. A confession and at the same time an analysis, both physical and emotional, that our narrating self held from the age of twelve until the last days of his life.

At the Auditorium, the show based on Daniel Pennac‘s novel of the same name., stages a flowing narrative where, through his discoveries and mutations, the protagonist’s body gradually takes center stage, accompanying us into a world that is revealed through the senses, we would almost say the epidermis: his mother’s anaffective voice, his father’s silent hugs, the welcoming smell of his beloved nanny, the searing pain of a wound, the taste of his beloved woman’s kisses. Pages and pages of an intimate diary where, telling of happy muscles, powerful orgasms, hurting teeth or marvelous adventures between sleep and wakefulness, a unique and at the same time universal story is told: the development, growth and downfall of the only experience that truly makes us all the same, that of us great and vulnerable human beings. And the fact that this is done through writing and storytelling (man is the only narrating creature) gives Pennac the opportunity to accompany us in the discovery of the secret garden that is our body, an organism that is at once memory, testimony and legacy. Pennac tells of the bloody battle with a nasal polyp or the paralyzing discovery of the female body, of infamy, masturbation or the miracle of birth, of the tyranny of flatulence or the tragedy of death always and continually between surprise and smile, between fatality and miracle, greatness and misery. And here Pennac’s “voice” becomes grand theater, stops being a book and turns into epic oral narrative where a body’s diary becomes a story “worth telling.”

The Wrath of Achilles is a staging with puppets designed not for the small proscenium but for the big stage. The action takes place on three stage planes: the men/puppets, the priests/puppets, and the gods/actors. Giacomo Cuticchio specially wrote the musical suite for the show, which was conceived, edited and directed by his father Mimmo.

At the Auditorium Parco della Musica in Rome, the epic merges with the contemporary in a staging that sees new puppets created on the figures of the Greeks and Trojans in action, respecting those traditional canons that the Family of Art has handed down from generation to generation. Similarly, ancient and modern instruments are harmonized in the soundtrack that accompanies, in a dialectical progression, the events depicted, following the rhythms of improvisation typical of puppet theater.

Elio Germano and Teho Teardo arrive on February 18, 2023 at the Auditorium Parco della Musica Ennio Morricone to present Paradiso XXXIII. A popularized show without anything being explained.

Dante Alighieri, in the 33rd canto of Paradise, finds himself in the awkwardness of the human being trying to describe the immense, the unspeakable, trying to recount the unaccountable. This deviation from “supreme wonder” will be staged by creating a unique, almost physical experience for the viewer in the presence of immensity. Elio Germano and Teho Teardo are voice and music to say beauty and approach the mystery, the immense, the unspeakable sought by Dante in the verses of the XXXIII canto of Paradise. From the compelling and “ethereal” sound sprouts the unprecedented and unpredictable music of the avant-garde composer and springs forth the visionary and intangible direction of Simone Ferrari and Lulu Helbaek, poets of the gaze, able to move between Olympic ceremonies, theater and shows while always carrying with them a drop of Cirque du Soleil magic. Thanks to their cross-media experience, something magical and wonderful of the unexplainable will happen, transcending any concept of theater, concert or Dantesque performance through a contamination of technological and theatrical languages.

On stage Vinicio Marchioni alternates personal stories, poems, maxims, theater-song pieces, stories taken from classic wine-inspired myths, accompanied by original music performed live by PinoMarino and Alessandro D’Alessandro and vintage records, taking the audience to an “other” dimension through the art of storytelling. A wonderful journey into the literature, music and humanity that has developed around the cult of wine and all that it represents: encounter, friendship, going beyond limits, creation, despair, love and joie de vivre; from Dionysus to Charles Bukowski, quoting Gaber and opera, from Baudelaire to Remo Remotti and Alda Merini. A tribute to wine, life and being human, light and full of exhilaration, like a dinner with friends lingering into the night.

On stage Vinicio Marchioni alternates personal stories, poems, maxims, theater-song pieces, stories taken from classic wine-inspired myths, accompanied by original music performed live by PinoMarino and Alessandro D’Alessandro and vintage records, taking the audience to an “other” dimension through the art of storytelling. A wonderful journey into the literature, music and humanity that has developed around the cult of wine and all that it represents: encounter, friendship, going beyond limits, creation, despair, love and joie de vivre; from Dionysus to Charles Bukowski, quoting Gaber and opera, from Baudelaire to Remo Remotti and Alda Merini. A tribute to wine, life and being human, light and full of exhilaration, like a dinner with friends lingering into the night.

It is September 14, 1969, after a game in Genoa by a Cagliari team that would win The one, historic championship. Gigi Riva goes to visit Fabrizio de André. It looks like a meeting between two worlds apart, and instead, amidst the silences, thoughts of Two strays who, in different fields, have always chosen to be on the side of others strays. The points of contact of two universes that share Sardinia, the sea, the audience that follows them religiously, soccer, music. When the words become too much the two say goodbye, never to see each other again. Perhaps, because of this, a meeting becomes theater.

We were taken by surprise by the pandemic, but we interpreted it.
They showed us the picture of the parasite and also the numbers, maps that change color as the virus spreads, and graphs.
We have a rational idea of the disease.
We handle it so well that some people are even denying it. But that high number of deaths disoriented us. And at first we thought it was really the number, the quantity. Instead, it is a matter of quality. We are no longer prepared for death. Dead bodies don’t make a big impression on us. They don’t perturb us that much. But we are shocked by the nothingness that takes them away. We don’t know what to do. And if they take away the body of the deceased we are completely bewildered. My mother and grandmother would set in motion a whole series of small and large, conscious and unconscious rituals. They would have known what to cook and how, what to drink and eat, whom to call and what words to say to him, how and where and when to pray. We don’t. We need the material things. Without the body of the dead we remain motionless with empty heads.

So I got into storytelling and writing. To do something that didn’t have a body. Because mourning is as intangible as memory, words, and dreams.

Coming April 11 and 12 to the Auditorium Parco della Musica is Ennio Morricone’s “La madre di Eva,” a show by and starring Stefania Rocca. The starting story, loosely inspired by Silvia Ferreri’s novel of the same name, a finalist for the 2018 Strega Prize, is that of a boy born in a female body in which he feels like a prisoner who intends to go through a transition process and a mother who does not want to see, partly out of fear and partly because she is stuck in her desire to be the perfect mother. It is a generational and cultural conflict, two languages using similar words but with different meanings as is always the case between different generations. “I chose to use different languages beyond theatrical staging to better tell those moments of experience that appear and disappear from memory seamlessly to compose that emotional puzzle of two antithetical existences. In carrying out this project, I have met so many parents and so many children who are going through this journey, singular and different for each of them. In the end when a conflict comes together it happens by listening to the language of the heart, the only one that allows us to value differences. After all, beauty is in the eye of the beholder,” explains Stefania Rocca.

Coming April 11 and 12 to the Auditorium Parco della Musica is Ennio Morricone’s “La madre di Eva,” a show by and starring Stefania Rocca. The starting story, loosely inspired by Silvia Ferreri’s novel of the same name, a finalist for the 2018 Strega Prize, is that of a boy born in a female body in which he feels like a prisoner who intends to go through a transition process and a mother who does not want to see, partly out of fear and partly because she is stuck in her desire to be the perfect mother. It is a generational and cultural conflict, two languages using similar words but with different meanings as is always the case between different generations. “I chose to use different languages beyond theatrical staging to better tell those moments of experience that appear and disappear from memory seamlessly to compose that emotional puzzle of two antithetical existences. In carrying out this project, I have met so many parents and so many children who are going through this journey, singular and different for each of them. In the end when a conflict comes together it happens by listening to the language of the heart, the only one that allows us to value differences. After all, beauty is in the eye of the beholder,” explains Stefania Rocca.

Ermanna Montanari, actress and author; Stefano Ricci, painter and illustrator; and Daniele Roccato, composer and solo double bassist-three artists with an unmistakable style have come together to create MOTHER, the story of a rural son and mother. She fell into a well. Out of carelessness? By insanity? By choice? This is not a dialogue: it is a diptych, composed of two monologues, him scolding her and going to find the tools, winches and muskets, iron pipes and pulleys, the “technology” to get her out; her confessing deep down in the bottom of that seemingly endless well that she is not afraid, that she is not uncomfortable. From that desolate landscape looms the allegory of an increasingly poisoned Mother Earth, the nightmare of a “technology” that, instead of discreetly helping humanity, stands as arrogant and destructive, capable of devastating millennia-old balances. In the inlay of the text, between Italian and Romagnolo dialect, two figures emerge poised between the stark reality of our days and the symbols of an ominous and indecipherable future: they seem like emblems of an oriental fairy tale.

Ermanna Montanari, actress and author; Stefano Ricci, painter and illustrator; and Daniele Roccato, composer and solo double bassist-three artists with an unmistakable style have come together to create MOTHER, the story of a rural son and mother. She fell into a well. Out of carelessness? By insanity? By choice? This is not a dialogue: it is a diptych, composed of two monologues, him scolding her and going to find the tools, winches and muskets, iron pipes and pulleys, the “technology” to get her out; her confessing deep down in the bottom of that seemingly endless well that she is not afraid, that she is not uncomfortable. From that desolate landscape looms the allegory of an increasingly poisoned Mother Earth, the nightmare of a “technology” that, instead of discreetly helping humanity, stands as arrogant and destructive, capable of devastating millennia-old balances. In the inlay of the text, between Italian and Romagnolo dialect, two figures emerge poised between the stark reality of our days and the symbols of an ominous and indecipherable future: they seem like emblems of an oriental fairy tale.

Ermanna Montanari, actress and author; Stefano Ricci, painter and illustrator; and Daniele Roccato, composer and solo double bassist-three artists with an unmistakable style have come together to create MOTHER, the story of a rural son and mother. She fell into a well. Out of carelessness? By insanity? By choice? This is not a dialogue: it is a diptych, composed of two monologues, him scolding her and going to find the tools, winches and muskets, iron pipes and pulleys, the “technology” to get her out; her confessing deep down in the bottom of that seemingly endless well that she is not afraid, that she is not uncomfortable. From that desolate landscape looms the allegory of an increasingly poisoned Mother Earth, the nightmare of a “technology” that, instead of discreetly helping humanity, stands as arrogant and destructive, capable of devastating millennia-old balances. In the inlay of the text, between Italian and Romagnolo dialect, two figures emerge poised between the stark reality of our days and the symbols of an ominous and indecipherable future: they seem like emblems of an oriental fairy tale.

Checco Zalone arrives for the first time at the Auditorium Parco della Musica Ennio Morricone on August 30 and September 1 and 2 for three unmissable dates. On the Cavea stage the Italian comedian, actor, showman, impersonator, singer-songwriter, musician, stand-up comedian, screenwriter and director will bring his new show, Amore + Iva, written with Sergio Maria Rubino and Antonio Iammarino. The artist from Puglia will return to the stage eleven years after the Resto Umile World Tour and after breaking all the records in the history of Italian cinema. Amore + Iva is a totally unprecedented show in which music, stories, imitations and parodies will be accompanied by the unmistakable irony of one of the most kaleidoscopic and beloved artists of the Italian public.

Checco Zalone arrives for the first time at the Auditorium Parco della Musica Ennio Morricone on August 30 and September 1 and 2 for three unmissable dates. On the Cavea stage the Italian comedian, actor, showman, impersonator, singer-songwriter, musician, stand-up comedian, screenwriter and director will bring his new show, Amore + Iva, written with Sergio Maria Rubino and Antonio Iammarino. The artist from Puglia will return to the stage eleven years after the Resto Umile World Tour and after breaking all the records in the history of Italian cinema. Amore + Iva is a totally unprecedented show in which music, stories, imitations and parodies will be accompanied by the unmistakable irony of one of the most kaleidoscopic and beloved artists of the Italian public.

Checco Zalone arrives for the first time at the Auditorium Parco della Musica Ennio Morricone on August 30 and September 1 and 2 for three unmissable dates. On the Cavea stage the Italian comedian, actor, showman, impersonator, singer-songwriter, musician, stand-up comedian, screenwriter and director will bring his new show, Amore + Iva, written with Sergio Maria Rubino and Antonio Iammarino. The artist from Puglia will return to the stage eleven years after the Resto Umile World Tour and after breaking all the records in the history of Italian cinema. Amore + Iva is a totally unprecedented show in which music, stories, imitations and parodies will be accompanied by the unmistakable irony of one of the most kaleidoscopic and beloved artists of the Italian public.

Edoardo Leo returns on New Year’s Eve with a special edition and a new stage production of the show Ti racconto una storia (serious and semi-serious readings), with musical improvisations by Jonis Bascir.
Ti racconto una storia is a reading-show that collects notes, suggestions, readings and thoughts of Roman actor and director Edoardo Leo. Twenty years of clippings, memories and laughter, transformed into an engaging show that changes form and content each time according to space and occasion.
A chance to smile and reflect, recounting slices of human life by combining words and music. A reflection on comedy and poetry to explain that, after all, they are not so far apart.
On stage not only short stories and monologues by famous writers (Benni, Calvino, Marquez, Eco, Benni, Piccolo) but also newspaper articles, anecdotes and texts by young contemporary authors and Edoardo Leo himself, and many surprises.