van apparently without destination which travels during the night through
an unknown street; a route at blindmans buff among extraneous bodies
which try to obstruct the path; a note-book of souvenirs from where it
figures faces, situations, stolen instants and unrepeatable moments; a
luggage apparently light which contains nevertheless thousand of words
that nobody has never pronounced in the same manner. These are only some
of the many suggestions that can be drawn from Stranieri».
which places the audience in front of the choice, which is not only creative,
but it concerns either theatrical ethics and life, of the laboratory as
a necessary place for the creation, as a condition to which we can not
renounce for the production».
and the flowers come out.
the great final aesthetical-ethics as only Cristina Castrillo knows how
to invent. While the imagines projected become more excited, the actors,
each loaded with his/her wreckage, as vagabond-emigrants, go forward toward
the public, in order to go out of the stage guided by two figures, one
with a crutch, the other with a covered face, a lame, a blind that however
carries in one hand like a lantern a cage, in the cage a fragile little
paper ship and one candle..
detaches itself from its own theatrality to become symbol.