Zoologia Fantastica

Title
Zoologia fantastica
Freely inspired from the Book of imaginary beings  by J. L. Borges and M. Guerrero

 

Concept and Direction
Enzo Marangelo

 

Characters and Performers
Sensitive Statue - Gerardo Santaniello
Centaur - Nicola Palladino
Golem - Antonella Angelastro
Mandragora - Maria Teresa Santaniello
Salamander - Tiziana Maio
Remora - Pierluigi Toro
Fire's King - Sergio Saponara
Animal dreamed by C.S. Lewis - Valentina Mastrangelo
Siren - Marina Amabile
Dragon - Francesco Diana

 

Director Assistent
Anna Maria Giaquinto

 

Set Design
Michele Paolillo

 

Lights and sound direction
Massimo Caiafa

 

Set direction
Luigi Grosso

 

Assistent set direction
Pierluigi Toro

 

 

Direction notes
Zoologia Fantastica is a staged trial on the body of the actor. Freely inspired from the Book of imaginary beings by J. L. Borges written with M. Guerrero, its creative path to make the imaginary beings was based on instinct, interior research and actually on imagination of the actors.
The key to read it is quite arbitrary, the piece, while referring to a literary text, does not provide for the use of verbal language, but language-related senses: visual, auditory, olfactory. Primordial ways of communication that are made of breath, cries and physical postures.
The viewer can spy on and eventually deduct the sense in a fantastic challenge that is his subjective imagination.

Zoologia Fantastica 01Zoologia Fantastica 02Zoologia Fantastica 03 Zoologia Fantastica 04 Zoologia Fantastica 05Zoologia Fantastica 06Zoologia Fantastica 07Zoologia Fantastica 08Zoologia_Fantastica_09

 

Direction note

Zoologia Fantastica is a staged trial on the body of the actor. Freely inspired from the "Book of imaginary beings" by J. L. Borges written with M. Guerrero, its creative path to make the imaginary beings was based on instinct, interior research and actually on imagination of the actors.

The key to read it is quite arbitrary, the piece, while referring to a literary text, does not provide for the use of verbal language, but language-related senses: visual, auditory, olfactory. Primordial ways of communication that are made of breath, cries and physical postures.

The viewer can spy on and eventually deduct the sense in a fantastic challenge that is his subjective imagination