2013 Nico Garrone Award Winner
54 replicas of Aldo morto, 54 days of self-reclusion by Daniele Timpano in a cell in live streaming
Teatro dell'Orologio, ROME - March 16 - May 9, 2013
a project by Teatro dell'Orologio and Frosini / Timpano
in collaboration with Romaeuropa Foundation, Kataklisma
media partner Il tamburo di Kattrin, Grapevine Studio
social media partner fattiditeatro
design and construction of the cell Alessandra Muschella
live-streaming Andrea Giansanti
ideation and realization of teaser video Emiliano Martina, Grapevine Studio
graphic design Angelo Sindoni, Antonello Santarelli
press office Donatella Maresca
promotion Bruna Benvegnù, Filippa Piazza
coordination of the Meetings section Bruna Benvegnù, Marzia Pacella, Flavio De Bernardinis, Christian Raimo, Graziano Graziani, Stefano Betti, Dario Morgante
organization Katia Caselli
dramaturgy of the imprisonment by Frosini / Timpano
«March 16th. entering the cell, I declared myself "political prisoner of the theater". In reality it is the theater that is a prisoner, in this society in which we live where it finds it difficult to have a recognizable role, a marginal corner (especially contemporary theater) of a "culture" that has been in our country for a long time, for ever , the extreme periphery of national consciousness. Not to mention the difficulties of convincing the public to go to the theater. The idea of ​​theater that our country still has is that of the dusty theater in the buildings, made by the same protagonists of 30-40 years ago, or at the most by their children, who age and disappear gradually from Pirandello to Pirandello. The idea that the theater takes a position on the present, speaks of the present, or from the present, has never passed, despite decades of efforts. Is theater itself a small political gesture or an escape from the mainstream? I am a political prisoner of the theater also in the sense that I am a prisoner inside a theater building, like a profession. But in this marginality, which is hard to be legitimized, it is possible to do things that, if they were done or said on television, in the cinema or on the stage of May 1st, would entail controversy and denunciations. And instead there are cries that - most of the time - go out underground »
[Daniele Timpano]
Imprisoned for 54 days, Daniele Timpano on the evening of 8 May 2013 staged his 54th and last replica of the show “Aldo Morto. Tragedy".
A bodily and mental experience that Timpano has lived in these 54 days, locked day and night in a 3 x 1 cell at the Teatro dell'Orologio in Rome.
For this reason, defining the “Aldo Morto 54” project only one show is certainly an understatement; more than anything else it was a path that brought in the 70s all those who chose to follow him, not only through the eyes of Timpano but through the eyes and words of all those people who wrote, sang and acted of those years.
There were many appointments that took place from March 16 to May 9, primarily the seminars curated by Prof. Flavio De Bernardinis on cinema and the images of the seventies that have traced a historical and critical excursus on Italian cinema of these marked years from political commitment and protest cries. Sunday was the moment of Le Domeniche di Moro, the review curated by Christian Raimo characterized by critical insight into the 70s through the readings and comments of authors, writers and artists who through their works, both literary and theatrical, tell from this period. Dario Morgante oversaw the Thursday show, Il Piombo nelle Parole, with the task of intertwining all the stories of the various writers who have followed one another over the weeks and who have told their point of view, their experience and their opinion on the 70s.
However, what made this unique performance rich were above all the testimonies of a hundred people who, either out of curiosity, for further information or for the simple desire to participate, decided to leave their testimony in the Amnesia Project, a common thread of all these 54 days that created a varied archive of experiences and memories. The guiding thread of the whole project was therefore the attempt to understand the impact that this historical fact had on the collective imagination, a comparison with an era that although it was not lived personally is present and requires continuous, a crossing intellectual of 35 years of materials around the so-called "Caso Moro".
He rummaged for 35 years in Aldo Moro's cell, a cell that no one has ever seen but that everyone has always imagined more or less like the one that was built at the Clock Theater, with a familiarity and a curiosity and an interest and a pain all polarized around a space that, as they made us imagine, perhaps never even existed.
35 years after that 9 May 1978 in which Aldo Moro's body was found inside the trunk of a red Renault in Via Caetani, Daniele Timpano concluded this significant journey to the headquarters of the Romaeuropa Foundation - Opificio Telecom Italia with MORO DAY, a meeting during which all the people, authors and artists who made this project possible found themselves drawing conclusions from these 54 days, discussing that historic May 9 that shook the hearts of Italians and what brought the imprisonment of Timpano inside the Clock Theater, what did he want to mean but above all what he wanted to convey both to the public and to the professionals.
A broad reflection on that fifty-fifth day that never belonged to Moro but belongs to us Italians who lived it. In his place. “I don't play Moro, neither in the cell nor on stage. I'm not him. It is I who watch 1978 from this uncomfortable and stagnant point where I am now, in 2013 ". [Daniele Timpano]
LIFE IN THE CELL The fulcrum of the whole project was Daniele Timpano's self-imprisonment for 54 days (March 16 - May 8) in a 3mx1m cell (as Aldo Moro is supposed to have been) placed inside a of the rooms of the Teatro dell'Orologio. Everything was filmed in live streaming 24 hours a day and broadcast live on the website www.aldomorto54.it in order to be able to follow Daniele at all times of the day: the moment of the beard, the reading of the newspaper , the time of lunch until the ritual of pizza and tea before going on stage. The day was then marked by daily appointments: at 13.00 Daniel led the TG Timpano giving the news, taken from Il Tempo, or from the country evening, of the corresponding day of 1978. In addition to following the different phases of the Moro kidnapping, the news articles of those days, the reviews of the shows on stage and finally the horoscope were read.
Daily readings were also the readings: the Gramsciana, which was held from 22 to 27 April at 16.00 and during which Daniele read iQuaderni from the prison of Antonio Gramsci, or the evening reading of The Pinocchio adventures of Carlo Collodi that Timpano read every evening after the show before going to sleep. The afternoon was instead dedicated to the Amnesia Project, meetings with ordinary people who told how they lived 1978, if they lived it, they learned about it through stories or through books; a chat during which they shared their knowledge and commented on the events of the Piombo years, sharing their impressions and memories until they created a vast archive of experiences entirely available on the Aldo Morto54 YouTube channel.
These scheduled events were joined by unexpected forays by people from the sector, including Valerio Aprea, Riccardo Goretti, Adriano Mainolfi, I Doppio Senso Unico, Compagnia Nano Egidio, Actress against or some journalists who wanted to interview Daniele directly at the inside the cell, such as Rai News24 or Daniela Giammusso dell'Ansa, or for the photographic services of Futura Tittaferrante (Theater and Criticism) and that of Ada Masella on Huffington post.
Daniele kept constantly in contact with the outside from his cell via email, facebook and twitter and also through all the appointments with the media partners of the project, as with Fattiditeatro every day at about 3 pm, a chat where it was possible to intervene using the hashtags #fdtalk and # aldomorto54, or the editorial staff of Il Tamburo di Kattrin who commented on the press review of 1978, the songs of those days and carried out reflections on today's theatrical policy, dedicating an entire section of their site to the project : The Drum of Kattrin for Aldo Morto 54 / daily updates - 7 sections for 7 weeks Meetings and debates that animated the basement of the Clock Theater for almost two months with the aim of focusing attention on the one hand on the relative imagination to the tragedy of the President of the Christian Democracy and on the other to the perception especially of those who were not there, as in the show, the point of view a has almost always been that of a thirty-five year old who came to know history in adulthood.