Theatre and drama performances

Magic up close - with style, charm and method:

Nicolai Friedrich inspires with his unique magic and charming stage presence.

His repertoire ranges from classic masterpieces to specially developed illusions that are unique in the world. In his shows, reality and illusion become blurred: objects float, transform or appear in inexplicable places. Drawings come to life, thoughts are read - seemingly effortlessly he overrides the laws of nature.

A show full of amazement, laughter and magical moments - that will be remembered for a long time.

Tickets: www.mytix.bz/magieganznah

Trina and Erich. A young woman, a man. Two voices. Two witnesses. Two victims. We are in Curon in the Vinschgau Valley, just a few kilometers from the Austrian border. The beautiful novel Resto qui by Marco Balzano becomes a theatrical play with two characters and many more voices, brought to life by the bodies and mastery of Arianna Scommegna and Mattia Fabris: they are Trina and Erich, witnesses, victims, and, when necessary, even executioners. They are the witnesses of an entire community wiped out in the name of progress and a dam that was almost useless—except to erase the lives of some hundreds of families who had resisted everything, including the First and Second World Wars, changes of nationality, fascism, and forced choices. “Through a dramaturgical weave of narrated parts and dialogues, this yet another ugly chapter of Italian history unfolds. A simple, lean staging: as Melville would have written it, ancient and melancholic. A story of dirty hands and tenacity, anger, violence, and remorse. Sketches. The story of simple women and men who did not accept surrender and now—before the Tribunal of Humanity and for a daughter who is no longer there—relive their long and humiliating defeat,” writes Francesco Niccolini, author and director of the play. The two protagonists, husband and wife, each tell their own version of the story: between Fontamara and Rashomon, there will be partly coinciding, partly different and complementary versions that will compose a pale and painful but dignified picture to present to the audience. Because you can lose the battle, but not be defeated: this is exactly what happens to Trina. By Marco Balzano Theatrical adaptation and direction by Francesco Niccolini With Arianna Scommegna and Mattia Fabris Set design: Antonio Panzuto Costumes: Emanuela Dall’Aglio Lighting: Alessandro Verazzi Original music: Dimitri Grechi Espinoza Production: Teatro Stabile di Bolzano, Piccolo Teatro di Milano – Teatro d’Europa

Franco Branciaroli is the protagonist of Sior Todero Brontolon, a masterpiece by Carlo Goldoni presented in 1762 at the Teatro San Luca in Venice and received with great warmth right from its debut. 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 Sior Todero Brontolon. Nonetheless, the indefinable ‘brontolòn’ has attracted actors of the calibre of Cesco Baseggio, Giulio Bosetti or Gastone Moschin, and it is now Branciaroli, a master of the contemporary stage, who offers an extraordinary and unexpected new interpretation directed by Paolo Valerio. It was Goldoni himself who was amazed at how a text centred on such an odious and negative character had achieved such success. Needless to say, the topicality and peculiarities of his Todero are unscathed even today. For the first time, Valerio's direction brings together Goldoni's world with that of puppets, two universes that meet in the microcosm of a real and imaginary place. A reinterpretation conducted with strict philological respect for the text and that - at the same time - brings to the stage an original intuition such as that of the puppets alongside the actors, as their alter egos. Valerio and Branciaroli are preparing to amaze the audience once again with their reinterpretation of a classic of Italian theatre, which can still suggest much to contemporary sensibilities. Just think 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. And the finale of the play - at a time when the concept of “patriarchy” dominates our chronicles in its most distorted and leaden meanings - weaves a vein of disturbance into the joyfulness of the resolution. By Carlo Goldoni, dramaturgy Piermario Vescovo, with Franco Branciaroli and 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. Director Paolo Valerio Sets Marta Crisolini Malatesta Costumes Stefano Nicolao Lights Gigi Saccomandi Music Antonio Di Pofi Stage movements Monica Codena Production Il Rossetti Teatro Stabile del Friuli Venezia Giulia, Teatro de gli Incamminati, Centro Teatrale Bresciano Duration: 140 minutes, including a break

Traditional St. Nicholaus and Krampus procession. 3.30 p.m. Schellen Race - children draped with goat herding bells, stroll along the village. On their way the children are tossed nuts, mandarin oranges and candies. 6 p.m. St. Nicholaus procession

presented by the theater group “Theaterkiste Lengmoos”, in german language, at the common house at Lengmoos

Angelo Pintus is an Italian comedian well known for his energetic style of humor and hilarious performances. He was born on May 21, 1975, in Trieste, Italy. Pintus has gained great popularity through his theatrical performances, later broadcast on TV and platforms, and his participation in successful television programs. The Italian comedian has been able to build a solid career in the Italian comedy scene, winning over theater audiences with his charisma, likability, and undisputed talent for improvising and entertaining.

Argo's story "is a “great little book” that strikes you straight to the heart. It makes you want to enter those events, uncovering the unspoken, giving voice to the silences, rediscovering History. The desire of Maria Ariis - one of the extraordinary performers in the show - has, therefore, also become mine. To translate all this on stage. Making active and emotional memory is the task of theatre. And everyone in life can meet Argo, that dog who reminds you who you are and where you come from' writes Serena Sinigaglia, director of this new play. An excellent writer and translator, Ciani experienced as a child the exodus from Pola, Istria, after the Second World War and recounts that tear with delicacy, through the separation from her dog York. York like Argo, Ulysses' dog, symbol of ‘home’, of waiting and of faithful friendship. His novel Storia di Argo has the breath of poetry, never falling into polemic or essay. Sinigaglia translates it on stage as a confrontation between generations: a grandmother who lived through the exodus, a mother who knew it from her mother, and a daughter who knows nothing about it confront each other today, in an intimate and human way, on that piece of history: the family dimension compared with the historical one, yesterday, today, tomorrow. Freely inspired by the novel Storia di Argodi Mariagrazia Ciani Original text by Letizia Russo Director Serena Sinigaglia With Ariella Reggio, Maria Ariis, Lucia Limonta Sets Andrea Belli Costumes Valeria Bettella Lighting and sound Roberta Faiolo Assistant director Michele Iuculano Production Il Rossetti Teatro Stabile Del Friuli Venezia Giulia, Teatro Stabile di Bolzano

Swan Lake tells the love story between Prince Siegfried and Odette, a princess transformed into a swan by the wicked sorcerer Rothbart. Amid grand court festivities, enchanted love scenes, spells, and deceptions, this timeless masterpiece brings to the stage all the charm of ballet and classical technique, telling one of the greatest love stories in the history of theatre. The timeless prestige and renown of Swan Lake are enhanced by the inspiring music of Pyotr Ilyich Tchaikovsky and the remarkable inventiveness and expressiveness of Marius Petipa’s choreography, here reinterpreted by Marco Batti, artistic director of the Balletto di Siena. His choreographic and artistic genius culminates in translating the relationship between the human body and the movements of swans. Classical repertoire ballet in three acts and four scenes Principal dancers: Chiara Gagliardo, Filippo Del Sal, Giuseppe Giacalone Soloists: Elena Badalassi, Matilde Campesi Original choreography: Marius Petipa Choreographic restaging: Marco Batti Music: Pyotr Ilyich Tchaikovsky Costumes: Jasha Atelier, Nataliia Dolyk Lighting designer: Giovanni Monzitta Set design: S.I.R.T. srl Production: Balletto di Siena Duration: 120 minutes

Swan Lake, one of the immortal masterpieces of classical ballet, tells the story of the young Prince Siegfried and Odette, a maiden transformed into a swan by the evil sorcerer Rothbart. With its iconic music by Pëtr Il'ič Čajkovskij, the ballet depicts the drama and beauty of eternal love. In the first act, during a court celebration, Prince Siegfried is forced to choose a bride but is captivated by a mysterious flock of swans. In the second act, at the lake, he meets Odette and learns about the curse that has transformed her into a swan. In the third act, at a ball at the castle, Siegfried, deceived by Rothbart, breaks his promise to Odette. Finally, in the fourth act, the prince desperately tries to redeem his mistake, but the spell can only be broken through his sacrifice. The Ballet Company of the National Opera House of Iași, one of the most renowned classical dance companies in Europe, will perform this historic masterpiece. The event lasts about 2 hours, with a 15-minute intermission. Ticket Prices: Poltronissima: 54.00 € (including presale fee) Disabled discount: 54.00 € + 1 free ticket Groups (min. 10 people) and children up to 12 years old: 46.00 € (including presale fee) Platea: 48.00 € (including presale fee) Disabled discount: 48.00 € + 1 free ticket Groups (min. 10 people) and children up to 12 years old: 42.00 € (including presale fee) Gallery: 40.00 € (including presale fee) Disabled discount: 40.00 € + 1 free ticket Groups (min. 10 people) and children up to 12 years old: 34.00 € (including presale fee)

After having written and performed a very successful apocryphal of Ruzante, Natalino Balasso takes on Bertolt Brecht in an attempt to restore the German playwright's observational spirit in the insidious contemporary context. "Obviously we cannot imagine what Bertolt Brecht would write if he lived, today, immersed in our culture, eighty years after the end of the Nazi horrors, within a much more complex and stratified economy and finance. Yet those horrors and prevarication are wretchedly relevant today, in other forms and with more devious weapons,' writes the Venetian author and actor. "In this Joan of the Unemployed, Brecht's characters act in new contexts and with new words, but continue to be immersed in the terrain of dominance and subjection. The algorithm may seem less evil to us, but at the end of the day it is as perfidious and cruel as a master in the flesh. Multinationals continue to prevaricate, hurt and hit the weakest, in all countries. [...] And then there are the people: millions of individuals increasingly isolated, increasingly oppressed by the commercial-advertising-social world that is massacring communities. In this mass of monads emerges the economic superman, without true thought and without depth. As in Brecht's Saint Joan of the Slaughterhouses, we will see the vicissitudes of Pierpont Mauler, of his subordinates, of Cridle, of Lift, of the biggest lobbyist of the moment: the terrible Graham; a world of tycoons that is opposed by Joan Darko, with her socialist community. But perhaps an online community is not a community, but a multitude of monads telling each other the dream of the tribe. This, perhaps, is the real contemporary drama. With all humility, we are presented with this Brechtian apocrypha, as if it were written under dictation. This is only possible with the help of the immutable art of theatre which, while entertaining us, as Gramsci said, tries to throw bombs in our brains'. By and with Natalino Balasso and with Giovanni Anzaldo, Marta Cortellazzo Wiel, Roberta Lanave. Direction Andrea Collavino Scenes Anusc Castiglioni Costumes Sonia Marianni Lights Cesare Agoni Dramaturgy Natalino Balasso Musical curation Celeste Gugliandolo Production Centro Teatrale Bresciano, Teatro Stabile di Bolzano, Emilia Romagna Teatro ERT / Teatro Nazionale

Lu santo Jullare Francesco by Dario Fo is a fabulation on the life of the saint from Assisi that takes up the styles and forms of narration of the mythical Mistero Buffo in the theatrical language of grammelot. Working on popular legends, canonical texts from the 14th century and documents that have emerged in recent decades, the Nobel Prize winner constructs a powerful, playful and certainly not hagiographic narration of the “Jester of God”, as Saint Francis liked to call himself. Fo's tale is - at one and the same time - spirituality and myth, fable and satire, and sketches a Francis as a man who strips himself of all wealth to approach the dispossessed, to preach to men, wolves or birds a message of brotherhood and peace, to compose and set to music his Canticle of the Creatures. Giving voice to this tightrope walk on the eighth centenary of the death of St. Francis of Assisi will be Ugo Dighero, actor-actor, already the interpreter for years of Mistero Buffo on the ‘blessing’ and urging of Fo himself, perfect histrion and jester of today. 2026 is also a special year to remember Dario Fo: it is the anniversary of his birth and ten years since his death. It is impossible not to celebrate his extraordinary theatrical career. Bringing this marvellous jester to the stage today cannot but take into account that in 2013 the late Cardinal Bergoglio, who became Pope, chose, emblematically, politically and for the first time in history, the name of Francis: the saint of peace and smile, of the custody of creation, of the poor church for the poor. Following Fo's lesson, the performance will thus move along two parallel paths, retracing the historical reality of Francis' journey in the Christian world and at the same time recounting the reforming revolution that Pope Francis has sought to implement in the Church of our time. By Dario Fo With Ugo Dighero Adaptation and direction by Giorgio Gallione Scenes and costumes Lorenza Gioberti Lighting design Aldo Mantovani Co-production Teatro Stabile di Genova, CMC/ Nidodiragno With the collaboration of Teatro della Juta

Michael Mittermeier goes travelling through time.... in Merano After almost four decades of comedy tours, the popular German cabaret artist Michael Mittermeier is going where he has never been before: into the future. As long as it still exists! But how to get there? In the 80s, you still travelled there by car. Typical. But how do you get there today? Is time travel even possible? Yep, he did it! FLASHBACK - Return of the future The solution was in the cellar: ‘Michl's’ great-grandfather was an inventor, a kind of Bavarian Oppenheimer. And he built a time machine over a hundred years ago. The thing stood in his grandparents' cellar for decades and didn't work. They always said it was a prototype for solar heating. But the battery was flat. But now it's ready to go! Drive: comedy. Fuel: humour. Michl, energy! But travelling alone is less fun, so he takes the audience on a journey - together into the future! With a transition jacket, of course. And while you're there, it's best to take a look at the past. There's rumoured to have been a lot going on there too. The important thing is to laugh together. No matter what time. FLASHBACK! I know what you'll have done next summer... In german laguage

The Compagnia Artemis Danza, led by Monica Casadei, dedicates this artistic project to a contemporary exploration and interpretation of four fascinating heroines by Giacomo Puccini: Tosca, Madama Butterfly, Mimì, and Turandot. Understanding Puccini's music involves analyzing its profound connection with the feminine world. In the four acts that make up Puccini's Opera, we find Casadei's personal interpretation of the female theme, placed at the center of a choreographic, visual, and musical reinterpretation process. Tragic love, thwarted and opposed love, cruel love that annihilates, the craving for possession that leads to destruction – all these live in the faces, bodies, and gestures of the Company, and continue to make us reflect on the contemporary relevance of stories that have moved audiences worldwide. The creation is imbued with a poignant atmosphere, filled with tension and poetic suggestion. Puccini's orchestral score is juxtaposed with electronic tracks by composers Luca Vianini and Fabio Fiandrini, crafting an enveloping and at times apocalyptic soundscape. A choral dance, swelling with impulses and passions, instinctive and at times wild, making dizzying use of space and appearing, even symbolically, visually full: solos protected by frames of ensembles in a dynamic accelerated by propulsive forces, bringing to life in the body and gut the drama and passions of the protagonists. Choreography, Direction, Set Design, Lighting, and Costumes: Monica Casadei Music: Giacomo Puccini Musical Arrangement: Fabio Fiandrini Production: Compagnia Artemis Danza Co-production: Fondazione Teatro Comunale di Ferrara With the contribution of: MiC - Ministry of Culture, Emilia-Romagna Region - Department of Culture, Municipality of Parma

We are a community of desires, not of action. Ernaux, one of the most authoritative voices in contemporary culture, chose in 2012 to bring to light a space ignored by literature, yet a formidable mirror of social reality: the hypermarket. A diary was born in which he recorded visits to "his" Auchan for a year, noting the contradictions and rituals, but also the unexpected tenderness, of that temple of consumption. From this "free review of observations" conducted between one aisle and another - with the shopping list in hand - in contact with the glittering mountains of goods of large-scale distribution, a narrative reflection comes to life capable of showing us from an unusual angle one of the secret theaters of our collective life. Director, screenwriter and actress, Michela Cescon is a passionate reader of Ernaux's work. Together with Lorenzo Flabbi, Ernaux's historic translator for L'Orma Editore, he edited the first Italian dramaturgical adaptation of Guarda le luci, amore mio. The show is performed by Valeria Solarino and Silvia Gallerano, two charismatic personalities, two artists with very different backgrounds and careers, on stage together for the first time to give voice and body to this new journey into everyday life. Based on the book of the same name by Annie Ernaux, with Valeria Solarino, Silvia Gallerano Dramaturgical adaptation Lorenzo Flabbi, Michela Cescon Directed by Michela Cescon Sets, lights, costumes Dario Gessati Production by Teatro Stabile di Bolzano, Teatro Stabile di Torino – Teatro Nazionale In collaboration with Teatro di Dioniso, Riccione Teatro and L'Orma Editore

With "Highlights," Balldini combines the funniest and most exciting aspects of eight cabaret programs: everything you've always wanted to know about what is supposedly the most beautiful thing in the world. She explains the dos and don'ts in the bedroom, as well as the preferences and tendencies that enrich human existence. She gives relationship tips for everyday life and shares anecdotes from her professional practice. She answers secret questions, debunks myths, or discusses the effects of pornography on our sexuality. Ticket presale: from 21/08/2024, at 10:00 AM in all Athesia bookstores. Online tickets available at: www.ticketone.it

Somewhere, something incredible is waiting to be known. (Carl Sagan) Cosmos is a reflection on the beauty of the universe: planets, stars, galaxies, and the space that unites and separates them, are so mysterious that they nourish the most daring fantasies. eVolution dance theatre reinvents the famous black light theatre in which darkness and the skilful use of light and visual effects give life to enthralling and exciting performances. Cosmos, the latest work by Anthony Heinl and Nadessja Casavecchia, turns its gaze towards the universe, a place where fantastic, floating, poetic figures move within imaginative spaces. The performance is the result of a long and participatory process in which each performer contributes to the final result of the show, enriching it with her wealth of experience ranging from classical dance to urban dance, from contemporary dance to acrobatics. Like every eVolution dance theatre creation, Cosmos testifies how research in terms of technological innovation can amplify, without ever replacing, the emotional and artistic contribution of its performers. Music, a fundamental element in the construction of the narrative, accompanies and intensifies the suggestions of each individual painting. Cosmos takes the spectator on a journey through unknown places, where science and understanding give way to imagination. Thanks to the creative and at the same time “pop” approach that characterises the entire production of eVolution dance theatre, the show leaves the spectator with the feeling of having experienced an unforgettable journey, to a vast space beyond the boldest imagination. To welcome him, on his return, the fragile and beautiful Earth, a small world in the midst of the immensity of worlds. By and with eVolution dance theatre Artistic director and choreographer Anthony Heinl C-artistic director and choreographer Nadessja Casavecchia Light designer and technical director Adriano Pisi Stage managers Daniele Martini and Tommaso Contu Laser effects Simone Sparky Costumes Daniela Molinini Management Live Arts Management Duration: 100 minutes

Deep in the desolate lands of Hell. A calm and eternal day of agonizing torture. Suddenly, a raucous barking breaks the silence it's the devils, running wildly back and forth in search of their king, the dreadful Satan. Along the banks of the Styx, countless souls have arrived, suddenly swept away by a lightning-fast, murderous, cowardly plague of boils and pox. The underworld is suddenly clogged, and Minos, the merciless judge of souls, must perform superhuman feats to assess everyone's sins. Everything grinds to a halt when Beelzebub, with great wisdom, steps in: he offers three jesters Zuan Polo, Domenico Tagliacalze, and Pietro Gonnella a reduced sentence, allowing them to return to what they did best in life: entertaining. The show draws from the ancient art of the jester the quintessential entertainer, the most devoted worshipper of satire and mockery. Since time immemorial, comedians have been both terrified of and drawn to Hell. It’s inevitable: the underworld is the final destination for those willing to do anything for a laugh. Hell and its sulfurous jailers form the foundation of folk traditions and the tales of wandering storytellers. It holds within it both the high and the low, the tragic and the grotesque. "We tried to explore, between the late Middle Ages and the Renaissance, some examples of infernal tales earthy, foul-smelling tracts," writes Stivalaccio Teatro, a company known for its unmistakable and irresistible reinterpretation of the Commedia dell’arte. "These episodes are told by three performers or rather, jesters, comedians, outcasts people willing to do anything to bring laughter. They make use of the jester's craft, that 15th-century mastery which later gave rise to the great tradition of Commedia actors. Strange characters, short tales, grotesque disguises, bizarre songs, demonic masks, and improvisations." With: Matteo Cremon, Michele Mori, Stefano Rota Original concept and direction: Marco Zoppello Set design: Matteo Pozzobon and Roberto Maria Macchi Costumes: Lauretta Salvagnin Lighting design: Matteo Pozzobon Masks and props: Stefano Perocco di Meduna and Tullia Dalle Carbonare Original music: Ilaria Fantin Footwear: Aldo Biasibetti Assistant director: Alvise Romanzini Photos and video: Serena Pea Set built at the Stivalaccio Teatro workshop by Roberto Maria Macchi and Matteo Pozzobon with artistic consultancy by Alberto Nonnato Costumes made by: Antonia Munaretti Production: Stivalaccio Teatro Special thanks to: Teatro Busnelli in Dueville and Accademia Olimpica di Vicenza Duration: 90 minutes