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Play-Back#6 La classe



Play-Back#6 La classe


Teatro contemporaneo italiano / Contemporary Italian Theatre

Istituto Italiano di Cultura di Melbourne / Italian Cultural Institute Melbourne

Cura di / Curated by Elvira Frosini e Daniele Timpano



a show by Fabiana Iacozzilli | CrAnPi

collaborating with the dramatization Marta Meneghetti Giada Parlanti Emanuele Silvestri

artistic collaboration Lorenzo Letizia Tiziana Tomasulo Lafabbrica

performer Michela Aiello Andrei Balan Antonia D’Amore Francesco Meloni Marta


scenes and puppets Fiammetta Mandich

lights Raffaella Vitiello

sound Hubert Westkemper

sound technician Jacopo Ruben Dell’Abate

assistant directors Francesco Meloni Silvia Corona Arianna Cremona

set photography Tiziana Tomasulo e Valeria Tomasulo

consultant Piergiorgio Solvi

special thanks to Giorgio Testa

communication and press office Antonino Pirillo

production Antonino Pirillo Giorgio Andriani

co-production CrAnPi Lafabbrica Teatro Vascello Carrozzerie | n.o.t | with the support of

Residenza IDRA and Teatro Cantiere Florida/Elsinor as part of the project CURA 2018 |

and of Nuovo Cinema Palazzo |and the support of Periferie Artistiche Centro di Residenza

Multidisciplinare della Regione Lazio


1khrefaqThe Class (La classe)

Watch the video [the link to the IIC Melbourne YouTube channel will be active from 1 July until 31 July]


The Class. A docupuppets for puppets and humans.

From 1983 to 1988 myself and other thirty souls were primary school pupils in a class of an Institute run by nuns which is now a holiday home. The Institute had the name Sisters of Charity. Our only teacher, also a sister of charity, was Sister Lidia and she died over twenty years ago. It has never been easy for me to talk about the years spent in this Institute and the strict education we were subjected to. Thirty later I decided I would create a show based on those memories and I started to search for my ex classmates, believing it was essential to recreate that “community” with which I had shared such experience. To begin to put together the pieces of the “history”I interviewed them, asking very simple questions such as “What was Sister Lidia like?”; “What do you remember about her?”; “Do you remember what happened in class?”; “Were you happy when she died?”. While I was working on the interviews Fiammetta Mandich created some puppets in the image of my classmates, so they could interpret the episodes we had lived from six until ten years old. From what had arisen during this first phase the show began to take shape: a docupuppets involving both puppets and people, but also a collective ritual somewhere in between The Dead Class by Kantor and The cannibals by Tabori where the adult re-reads his memories of a childhood spent in fear of being punished, interpreted by puppets in the hands of a mysterious ex-machine. These memories/pieces of wood, children reduced to marionettes, stooges of lifeless youth, impotent and manipulated like objects, move without feeling on old wooden boards which bring back memories of school desks, butchers’ chopping boards or the operating table of a past experiment. Silence all around. Only the sound of pencils writing and schoolmates breathing. And also the sound of chalk being used up in writing dictations on the blackboard. Parents are absent. No trace of them. The parents have only been drawn on the corpse of a blackboard but then soon after erased. In the silence of their footsteps, these small wooden bodies move in a Sister Lidia-World where even God lowers his gaze when He sees her.Sister Lidia, the only real life presence, the living figure of a man or woman in the middle of all these objects, escapes the sight of puppets and audience. We can hear her footsteps, see her hands, make out some features in the darkness, even smell the whiff of her cigar. We are aware she frightens us, that deep down, in the deepest depth of each of us, audience puppet performer technician board or classmate, she is the generator of fear. Read more


Fabiana Iacozzilli, director-playwright who carries out research based on scenic drama and on the expressive potential of the role of the performer. Since 2013 she has collaborated with CrAnPi and with Teatro Vascello in Rome and from 2017 with Carrozzerie N.O.T. In 2002 she qualified as a director from the Academy “Centro Internazionale La Cometa” where she studied, among others, with N Karpov, N Zsvereva, A Woodhouse. From 2003 to 2008 she was assistant director to P. Sepe and assistant to Luca Ronconi. In 2008 she founded the company Lafabbrica becoming the artistic director. In 2011 she was selected to participate in the DIRECTOR LAB, an international project organized by the LINCOLN CENTER (Metropolitan of New York). In the same year she became a member of the LINCOLN CENTER DIRECTORS LAB. Among her shows “Aspettando Nil (Waiting for Nil)” for which she won the Undergroundzero Festival of New York; “La trilogia dell’attesa (The trilogy of waiting)” winner of the Play Festival (Atir and Piccolo Teatro di Milano- Teatro d’Europa) “Da soli non si è cattivi (Alone, you are not wicked)” Three one act plays from short stories by T. Tomasulo and “The class- a docupuppets for marionettes and actors/people” winner of the inter-regional residence competition CURA and which has its international debut in the Romaeuropa Festival 2018.

CrAnPi deals with theatre production, promotion and communication. Among its important recent activities are the running of the Theatre Library in Quarticciolo, Rome; the organization and communication of “Sound Visual Landscapes”, winner project of the competition Mibac “Open Space to Culture”; the organization of the workshop/show Alzheimer mon amour, run by Veronica Cruciani, John Cascone/MK and Riccardo Fazi/Muta Imago in collaboration with Teatro di Roma; the production of the shows: “Accabadora” from the novel by Michela Murgia/dramatization Carlotta Corradi, with Anna Della Rosa directed by Veronica Cruciani, and “The Class- a docupuppets for marionettes and people” by Fabiana Iacozzilli; promotion in Italian theatres of the book “New Theatre Made in Italy” by Valentina Valentini; the communication and promotion of international contemporary dance companies Spellbound Contemporary Ballet(IT) Roy Assaf (IL) Linga Company (CH) and the communication of “Fuori Programma- International Dance Festival” with the artistic direction of Valentina Marini


Date: Da Thursday, July 01, 2021 a Saturday, July 31, 2021

Organized by : IIC Melbourne

In collaboration with : Fabiana Iacozzilli/GrAnPi

Entrance : Free