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Edinburgh Fringe First Award 2012 for Writing Excellence
The Stage Award 2012 for Acting Excellence to Silvia Gallerano
Arches Brick Award 2012 for Emerging Art
Total Theatre Award 2012 for Innovation (Nomination)
Premio della Critica 2012 Miglior Spettacolo
Jury Award Giovani Realtà del Teatro 2010
Audience Award Giovani Realtà del Teatro 2010
Dodicidonne ATCL Lazio Award 2010 to Silvia Gallerano
Edinburgh Fringe Sell-out Show 2012, 2013, 2022
Reumert Award 2015 for Best Actress to Danica Curcic
Prêmio Aplauso Brasil 2018 (Nomination) to Christianne Tricerri
Norwegian Hedda Award 2019 for Best Actress to Helga Guren
Best New Play for a non-Danish Writer 2019 Copenhagen Culture (Nomination)
***
‘Una obra sublime tan brutal.’
El País (Spain)
‘Extraordinary, uncompromising and entirely unforgettable. Rich, absorbing worlds that suck you in and shake you up, leaving you disorientated, disturbed and exhilarated’
★★★★ The Times (UK)
‘Um ato de revolta e libertade. Na sua ira discursiva, com verdades e delírio, o que surge é o ser humano entrevisto e retratado na alta literatura’
Estadão (Brazil)
‘Extraordinary, terrifying and hard to taste, hard to ignore. A piece so literally and metaphorically naked, raw and angry that you leave the theatre feeling as if you’ve had all your skin scraped off’
★★★★ The Guardian (UK)
‘Gallerano’s visceral performance will stay with you for years’
★★★★★ The Stage (UK)
‘Think Beckett on steroids. A furious stream-of-consciousness.’
The Georgia Straight (Canada)
‘Devastating stream of consciousness. One of the most wonderfully full–on performance ever seen’
★★★★ The Scotsman (UK)
‘È come entrare in un circo. La belva pronta, sul trampolo. Guarda, annuisce, ruggisce. Di fronte a lei, senza alcun riparo, tutti i domatori. La Merda, di Cristian Ceresoli, fra le decine e decine di premi, vinti in tutto il mondo, non è uno spettacolo. È un’esperienza. Assoluta. Quindici minuti di applausi finali. Imperdibile.’
La Repubblica (Italy)
‘Estamos falando da verdadeira revolução pretendida pelo cineasta Píer Paolo Pasolini’
★★★★ Folha de São Paulo (Brazil)
‘It is anti fascist as well as anti abuse; against people who play for power over others. Parts of this show are so politically incorrect that they come at you from unexpected angles. Certainly the whole piece is pushing boundaries of theatre in new ways.’
The Advertiser (Australia)
‘How a culture of celebrity feeds a returning tide of European neo-Nazism’
ABC (Australia)
‘Teater, der virkelig vil os noget’
★★★★★ Politiken (Denmark)
‘Brash, brutal, beastly, yet beautiful. Raw, touching, intelligent and mesmerising. Unforgettable.’
★★★★ The List (UK)
Utterly compelling verbal symphony. Somewhat perversely, the compelling honesty
of what follows is simply irresistible’
★★★★ The Herald (UK)
‘Il monologo rivoluzionario.’
Il Sole 24 Ore (Italy)
‘Una voce s’è desta. Un grido di dolore. Uno stimolo a liberare il nostro paese.’
L’Unità (Italy)
‘This is skin in the tradition of Artaud and it is powerful, political & poetic.’
★★★★★ Examiner (USA)
‘A manifest of anger and tenderness, a stand-up tragedija’
Ore (Lithuania)
‘Pragtfuld Silvia Gallerano sig i det mest forbløffende monolog-manuskript siden.’
★★★★★ GregersDH (Denmark)
***
‘Desperate and chilling, a fierce commentary on a society spinning helplessly towards barbarism; it blazes with the kind of poetic and theatrical energy that leaves audiences not depressed, but exhilarated and empowered.’
★★★★ The Scotsman (UK)
‘A play that surprises like surrealism and sounds like a symphony,
angry, passionate and compelling.’
Total Theatre (UK)
’An incredibly acted, grotesquely comedic and brutal journey
through a fascist, totalitarian landscape.’
★★★★ The Wee Review (UK)
‘A larger than life performance’
The Independent (UK)
Seductive & innocent.
★★★★★ Gregers (Denmark)
Violent and scary.
★★★★★ Ungt Teaterblod (Denmark)
Inevitable.
★★★★ Sceneblog (Denmark)
Strong and rhythmic.
★★★★ Kulturtid (Denmark)
ITALIAN BOOKING
Paola Farinetti
Phone +39 0173 366549
send an email
INTERNATIONAL BOOKING
Richard Jordan Productions Ltd
Phone +44 (0) 207 243 9001
send an email
DIRECTED BY SIMON BOBERG
SOUNDTRACKS BY STEFANO PIRO, ‘CARACAL’ A SONG BY DJ BLUE CAT
TECHNICIAN GIORGIO GAGLIANO
PRODUZIONI FUORIVIA (ITALY), FRIDA KAHLO PRODUCTIONS (ITALY) AND RICHARD JORDAN PRODUCTIONS (UK)
WITH TEATRO METASTASIO (ITALY) AND TEATER GROB (DENMARK) IN ASSOCIATION WITH PLEASANCE (UK) AND DEVELOPED WITH JERSEY ARTS CENTRE (UK), WITH THE SUPPORT OF SPIN TIME LABS (ITALY)
We got to dance.
We got to dance.
Every morning.
And every night.
We got to smile.
Who doesn’t smile, is punished.
Who protest, is punished.
And every day.
Goes by the same.
[Happy Hour, Chapter 15]
Kerfuffle is a boy, a champion of the world. While Ado, his sister, is agirl.Mum and Dad are happy. That’s because it iscompulsory.
Winner of six major awards (with the Edinburgh Fringe First) and having thrilled audiences around the world with La Merda (from Europe to Brazil, from Australia to North America) still touring and selling out since 2012, Cristian Ceresoli presents his new writing, rock and lysergic, titled Happy Hour. Being composed since 2007, as if it was the second fragment of the same landscape, as if these two works (La Merda&Happy Hour) were enlightening two details of the same painting.
Here the writer discovers a new world –at the present– where a brand new and highly effective form of a cheerful totalitarianism is coming by. Acitywith hilarious mass deportations and funny exterminations,where the most colourful of fascisms states. Silvia Gallerano, acclaimed performer of La Merda, embodies little Ado, a girl hungry for love, while Stefano Cenci, unique and powerful performer, is her brother Kerfuffle, directed by Simon Boberg, Danish director of international fame – along with Soundtracks of Stefano Piro based on the music of Caracal, a song by dj Blue Cat.
A “trendy” poem at the overwhelming rhythm of a never-ending “happy hour”, in a deliriously renewal of the language, crossed by humanities who enjoy life, dress in a leopard-style code and is ready to anything to defend its enthusiasm.
As well as La Merda has broken the boundaries of theatre, literature and art in new ways, beyond the genres (poetry, rock, sophisticated and welcomed by sold-outs everywhere), Happy Hour tries to manifest itself with its own originality. A literary score for two voices/bodies. Acting beyond limits. Live performing art.Vision. Glamour. A very modern tragedy where you die laughing, as slaughtering beasts.
Dobbiamo ballare.
Dobbiamo ballare.
Tutte le mattine.
E tutte le sere.
E dobbiamo sorridere.
Chi non sorride vien punito.
Chi protesta pure.
E ogni giorno passa uguale.
[Happy Hour, Capitolo 15]
Kerfuffle è un bambino, è un campione del mondo. Invece Ado è la sua sorellina, è una femmina. Mamma e papà sono felici, anche perché è obbligatorio.
Dopo aver vinto numerosi premi, tra cui l’oscar del teatro europeo al Fringe Festival di Edimburgo, e registrato un grande successo di pubblico e critica in tutto il mondo con La Merda (dall’Europa al Brasile, dall’Australia al Nord America) tuttora in tour a sei anni di distanza dal suo debutto, Cristian Ceresoli presenta una sua nuova scrittura, lisergica e rock, intitolata Happy Hour. Composta a partire dal 2007, come fosse il secondo frammento di uno stesso paesaggio, come se queste due opere illuminassero parti dello stesso dipinto.
Qui lo scrittore scopre un nuovo mondo, al presente, dove si afferma (e vince) un’efficacissima forma di allegro totalitarismo. Qui Silvia Gallerano, già osannata interprete de La Merda, incarna la piccolaAdo,una ragazzina affamata d’amore, mentre Stefano Cenci, interprete unico e potente, è suo fratelloKerfuffle.La regia è affidata alla sensibilità di Simon Boberg, regista danese di fama internazionale,già direttore della produzione teatrale e televisiva di Lort (La Merda) in Danimarca.
Una partitura (o città) in cui avvengono divertentissime deportazioni di massa, in cui si afferma il più colorato dei fascismi. Un poema di tendenza al travolgente ritmo di un happy hour ininterrotto e quotidiano, in un delirante rinnovamento della lingua, attraversato da un’umanità che gode della vita, veste ghepardato e è disposta a tutto per difendere il proprio entusiasmo.
ComeLa Merda ha rotto gli schemi aldilà dei generi(opera di poesia, rock, sofisticata e immediata a un tempo, letteratura, teatro o performance,accolta da luoghi e spazidiversi, grandi città e provincee tutto esauritoda anni) allo stesso modo Happy Hourtentadi manifestarsi con una sua originalità. Partitura letterariaper due corpi. Prova d’attore oltre i limiti. Opera d’artedal vivo. Visione. Glamour. Una tragedia moltomoderna in cui ridere fino ad ammazzarsi epiangere,come bestie da macello.
La canzone Caracalche si intarsia all’esecuzione della partitura è della dj islandese Blue Cat
We got to dance.
We got to dance.
Every morning.
And every night.
We got to smile.
Who doesn’t smile, is punished.
Who protest, is punished.
And every day.
Goes by the same.
[Happy Hour, Chapitre 15]
Kerfuffle est un garçon, un champion du monde. Tandis qu’Ado, sa sœur, est une fille. Maman et Papa sont heureux. C’est parce que c’est obligatoire.
Lauréat de six prix majeurs (dont le Fringe First d’Édimbourg) et ayant fait vibrer les publics du monde entier avec La M***a (de l’Europe au Brésil, de l’Australie à l’Amérique du Nord) qui continue d’être jouée en tournée et à guichets fermés depuis 2012, Cristian Ceresoli présente sa nouvelle écriture, rock et lysergique, intitulée Happy Hour. Écrite depuis 2007, elle se présente comme le deuxième fragment d’un même paysage, comme si ces deux œuvres (La M***a & Happy Hour) éclairaient deux détails d’un même tableau.
Ici, l’auteur découvre un nouveau monde — au présent — où s’installe une forme inédite et redoutablement efficace de totalitarisme joyeux. Une ville aux déportations de masse hilarantes et aux exterminations drôles, où s’établit le plus coloré des fascismes. Silvia Gallerano, interprète acclamée de La Merda, incarne la petite Ado, une fille affamée d’amour, tandis que Stefano Cenci, interprète unique et puissant, est son frère Kerfuffle, sous la direction de Simon Boberg, metteur en scène danois de renommée internationale — avec une bande originale de Stefano Piro basée sur la musique de Caracal, une chanson du DJ Blue Cat.
Un poème « branché » au rythme effréné d’un éternel « happy hour », dans un renouvellement délirant du langage, traversé par des humanités qui croquent la vie à pleines dents, s’habillent en motif léopard et sont prêtes à tout pour défendre leur enthousiasme.
Tout comme La Merda a brisé les frontières du théâtre, de la littérature et de l’art de façon inédite, au-delà des genres (poésie, rock, sophistiqué et accueilli partout à guichets fermés), Happy Hour cherche à manifester sa propre originalité. Une partition littéraire pour deux voix/corps. Un jeu d’acteur au-delà des limites. De l’art de la performance en direct. Une vision. Du glamour. Une tragédie ultra-moderne où l’on meurt de rire, comme des bêtes à l’abattoir.
We got to dance.
We got to dance.
Every morning.
And every night.
We got to smile.
Who doesn’t smile, is punished.
Who protest, is punished.
And every day.
Goes by the same.
[Happy Hour, Capítulo 15]
Kerfuffle es un varón, un campeón del mundo. Mientras que Ado, su hermana, es una mujer. Mamá y Papá son felices. Eso es porque es obligatorio.
Ganador de seis premios importantes (incluido el Edinburgh Fringe First) y habiendo emocionado a espectadores de todo el mundo con La M***a (de Europa a Brasil, de Australia a América del Norte), que sigue de gira y agotando localidades desde 2012, Cristian Ceresoli presenta su nueva dramaturgia, rockera y lisérgica, titulada Happy Hour. Escrita a partir de 2007, es como si fuera el segundo fragmento de un mismo paisaje, como si estas dos obras (La M***a & Happy Hour) iluminaran dos detalles de un mismo cuadro.
Acá, el autor descubre un nuevo mundo —en el presente— donde se viene instalando una forma inédita y sumamente eficaz de totalitarismo alegre. Una ciudad con deportaciones masivas hilarantes y exterminios divertidos, donde se implanta el más colorido de los fascismos. Silvia Gallerano, aclamada performer de La Merda, encarna a la pequeña Ado, una chica hambrienta de amor, mientras que Stefano Cenci, un performer único y potente, es su hermano Kerfuffle, bajo la dirección de Simon Boberg, director danés de renombre internacional —junto a la banda sonora de Stefano Pirobasada en la música de Caracal, una canción del DJ Blue Cat.
Un poema “con onda” al ritmo arrollador de un “happy hour” interminable, en una renovación delirante del lenguaje, atravesado por humanidades que disfrutan de la vida, se visten con estampados de leopardo y están dispuestas a todo con tal de defender su entusiasmo.
Así como La Merda rompió los límites del teatro, la literatura y el arte de maneras nuevas, más allá de los géneros (poesía, rock, sofisticado y recibido en todos lados con salas llenas), Happy Hour intenta manifestarse con su propia originalidad. Una partitura de nivel literario para dos voces/cuerpos. Actuación más allá de los límites. Arte de performance en vivo. Visión. Glamour. Una tragedia modernísima donde te morís de risa, como bestias en el matadero.
Ph: Marco Pavanelli
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