text by Édouard Louis
direction Daria Deflorian and Antonio Tagliarini
translation by Annalisa Romani, published by Bompiani/ Giunti editore S.p.A
Italian adaptation Francesco Alberici, Daria Deflorian, Antonio Tagliarini
collaboration to the adaptation Attilio Scarpellini
with Francesco Alberici
light designer Giulia Pastore
costumes Metella Raboni
assistant to direction Chiara Boitani
artistic collaboration Andrea Pizzalis
organization and promotion Giulia Galzigni / Parallèle
production A.D., Teatro di Roma – Teatro Nazionale, Emilia Romagna Teatro Fondazione, TPE-Teatro Piemonte Europa / Festival delle Colline Torinesi
e FOG Triennale Milano Performing Arts
Qui a tué mon père
Copyright © 2018
All rights reserved
lenght 1h 30′
in Italian with English surtitles
On February 22nd, at the end of the show, the author Édouard Louis will meet the audience.
After Quasi niente, the collaboration between Emilia Romagna Teatro Fondazione, Daria Deflorian and Antonio Tagliarini continues with the new production Chi ha ucciso mio padre (Who killed my father) by Édouard Louis. For the first time, Deflorian / Tagliarini rely on a text not written by them, but by an author with whom they share important affinities. They talk about “what makes life to politics”, about a look no longer angry but reconciled to bad fathers, they make the names of the guilty. An intimacy that continually opens up to history and to the present. Individual and collective experience in a dialogue for one voice.
The 68’s young rebels wanted to kill their father – that’s what they said. Forty years later, on the pages of a text, words coming from the same Édouard Louis, bornt not from literature need but only from the necessity and fiery urgency, a 26 years old writer starts hunting the father’s murders and find out they belong to the rulers, but more importantly, he placed on the agenda of writing the lives of which no one wants to hear anymore, the naked lives of those who the power took away any protection. The miracle is that the impeachment hasn’t made any less emotional the Kafkian Letter to his father in which the son repeatedly gives confidence to the man who for years has denied him any confrontation, thus evading the confrontation with himself/ any self- confrontation. Investigating himself where he doesn’t even know, in the depth of a vocation immediately expropriated by the harsh laws of a social condition that since ever has been also an ideology, an aspect of domination. Although the word revolution – said by the father – is the last word of the text and can lead us to some considerations: a very strong uneasiness corrodes the heart of deep France (and not only). However, it is more interesting to wonder what has happened in the meantime.
And what happened is narrated, almost as a fairy tale, by Louis in a page of this dialogue for single voice «one day, on autumn, the educational aid for the new school year had been increased by almost one hundred euro. The aids were credited each year to families to help them buying stationery, notebooks and briefcases. You were out of control, you screamed in the living room: let’s go to the beach, and we went in six inside our car made only for five… All-day long was a party. I’ve never seen families that don’t need anything, celebrating a political decision like that one because politics has never had such an influence on their life».
The true difference in this meagre and incisive story about father and son relationship compared to those that succeeded on the History of literature lies on the scene in which it takes place: a work class already condemned to the obsolescence by the liberal trend where a homosexual son has to face his father fully obsessed by masculine and the awareness of being in turn an outcast, servant and looser, just like the people he hates most and which he fears most to resemble, the Arabs, women, the effeminate. […]
Author that visibly looks at the theatre, Édouard Louis assumes for us the logical step towards a performative dramaturgy that aims at literature more and more: accustomed to staging our words and experience, filtered throughout the long testing process, for the first time we’ve decided to rely on the text of someone else with which we share some fundamental similarities. Starting, of course, with the relationship between life and fiction and, accordingly with our unfinished research, ending up with the links between figure and background, between singular experience and collective experience. By choosing Francesco Alberici, as our interpreter, we have sought the greatest possible distance from the risk of resemblance with the voice that speaks for itself in Chi ha ucciso mio padre (Who killed my father). It’s not in the resemblance that we seek a plane of truth between this story and the public, but in the possibility, opened by the initial caption of the text, to tell the story of all of us through a story of one.
Our directing and the Francesco Alberici’s rendering will be nothing more than the further development of a construction site where we have been working together for a long time.
Daria Deflorian and Antonio Tagliarini
Eduoard Louis (1992) edited the volume Pierre Bourdieu: L’insoumission en héritage and is the creator and director of the series “Des Mots” of the Presses Universitaires de France. His first novel, Farla finita (Get it over with) with Eddy Bellegueule (2014), immediately became a case in France, and is currently being published in twelve countries. The philosopher Didier Eribon spoke of a literary “exploit”, the newspaper Le Monde celebrated it as “the story of a healthy failure” and the director Xavier Dolan stressed “the inimitable authenticity of the dialogues”, as if Éduoard Louis had always written”. In 2016 he published History of Violence. Written thanks to the request of the director and actor Stanislas Nordey Chi ha ucciso mio padre (Who killed my father) (2018) was staged by Nordey himself in the spring of 2019. Belgian director Ivo van Howe will stage the Dutch version of the text. In Italy all his works are published by Bompiani.
Daria Deflorian and Antonio Tagliarini
Their first such collaborative work was Rewind, a Tribute to Cafè Muller by Pina Bausch created in 2008 for the Festival Short Theatre of Rome, which subsequently toured various Italian and European festivals. In 2009 they co-wrote, directed and acted in their own production called From A to D and back again, loosely based on Andy Warhol’s similarly titled book for the Palladium Theatre in Rome. Since 2011 they have worked on Progetto Reality (“Project Reality”) which has morphed into two works: czeczy/cose, (“things”) an installation/performance first performed at Rome’s Festival Short Theatre in 2011 and Reality, which was commissioned for the Festival Inequilibrio di Castiglioncello in 2012. In Autumn 2012 they were invited to take part in the Teatro di Roma’s “Perdutamente” project which led to their play Ce ne andiamo per non darvi altre preoccupazioni (We’re Leaving So You Don’t Have To Worry Anymore) in December 2012. This work constituted the initial study of a production which premiered in November 2013 for the Festival Romaeuropa where they were joined on stage by two other co-creators/performers Monica Piseddu and Valentino Villa. This play won the Ubu Award 2014 for Best New Italian Dramaturgical Research. Three of their texts were published by Titivillus 2014 in one edition called Trilogia dell’invisibile‘ (Trilogy of the Invisible). A retrospective of their body of work was then performed with the same title in November 2014 at Teatro India in Rome. In Autumn 2015 Daria and Antonio presented both Ce ne andiamo per non darvi altre preoccupazioni and Reality at the Festival d’Automne in Paris. This also marked the beginning of an international tour through France, Swiss, Germany and Canada. They will debut their latest project with the working title Il cielo non è un fondale (‘The Sky Is Not a Backdrop’) in Autumn 2016.
Francesco Alberici (Milano,1988).
After completing his classical studies, he graduated in Economics from Bocconi University in Milan. He graduated as an actor at the school Quelli di Grock and works in various shows of the company. He studied with Danio Manfredini and Massimiliano Civica, among others. In 2014, together with Claudia Marsicano and Daniele Turconi, he founded the collective Frigoproduzioni, with which he created Socialmente (2014) and Tropicana (2017). With Daria Deflorian and Antonio Tagliarini he worked in Il cielo non è un fondale (The sky is not a backdrop) (2016) as an actor and collaborator in the project, in Scavi (Excavation) (2018) as a co-author and actor and in Quasi niente (Almost nothing) (2018) as a collaborator in dramaturgy and assistant director.