The director of Scaldati’s “Pinocchio”: “Palermo and Catania together on stage”

Reviving the Scaldati theater and making it circulate beyond Palermo was a promise kept. The director Livia Gionfrida, who will direct the production of this unprecedented novel jumped out of the drawers by Franco Scaldati for the Teatro Stabile di Catania, took to the stage to bring “Pinocchio” to the Palermo actor and playwright. Debut on 8 July at the Palazzo della Cultura, in the cast among others Aurora (Rory) Quattrocchi, Manuela Ventura, Cosimo Cultrera, Serena Barone, Domenico Ciaramitaro, Alessandra Fazzinio.

“The proposal to work on Franco Scaldati’s” Pinocchio “came from the director of the building Laura Sicignano – explains the director -. It is not a real text but a draft of almost 200 pages in which Scaldati translates Collodi and does it in his language which is not Palermo, but a real Scaldatian language. I wanted and had to do well, but I needed to understand where he came from and where he wanted to go. So I followed a workshop in Palermo, I looked for and attended the people close to him, the actors who knew him and with whom he had worked, and I tried to understand how he had intertwined the archaic Sicilian with his language, which is made of mixtures. and remixing “.

Catania, the Stabile restarts with the unpublished “Pinocchio” by Scaldati

by Nunzia Scalzo


A complex artist who is attentive to the poetry of his language, Scaldati explores a universe populated by characters inspired by ordinary people, a world where an authentic Sicilian is spoken who pushes from laughter to the extreme consequences of thought and becomes bitter reflection. “I could not betray the essence of her way of understanding the life of her characters – explains Livia Gionfrida – I wanted to know her environment and from there proceed with a rewriting of the scaldatina language to go further, in a vision that intertwined past and here I’m”.

Originality is the word that best makes Scaldati’s work, in his “Pinocchio” there is no meat puppet as in the original Collodi but a puppet that together with Geppetto and Candlewick remains in the belly of the shark to become pirates, people free. “It is the idea of ​​the different that is the idea of ​​freedom, it is a Pirandello theme that fascinates me – says the director -. It is an experimental research of elements that are composed with others. The actors on stage play more characters and become company themselves ”.

To give substance to this idea it is necessary to take a step beyond that Gionfrida resolved in an original way: “The company is made up half by actors from Palermo and half from Catania. I wanted Sicilian artists who could speak the language well, the Palermitans who knew Palermo well but also the archaic dialect. I asked the people of Catania to recite in Catania, without fictions and without forcing, I wanted them to enter that language that becomes flesh and which is an extraordinary result of meanings. In “Pinocchio” I wanted to blend contemporary theater with elements of the past, and, as he loved to do, Scaldati I mixed. In him I found a great teacher and I learned many things, an exciting experience “.

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