Logorante, ma vivo
Milan, 1947. In the rooms of Via Rovello, marked by the torture carried out by Muti’s fascist forces, a seamstress and ex-partisan tells of the birth of the Piccolo Teatro. Through her eyes, we see the vision of Paolo Grassi, who uses public theatre as a tool for collective growth, setting in motion one of the most important cultural adventures of the post-war period.
Milan, 1947. The rooms of Via Rovello, previously the theatre of the horrors committed by Muti, one of the most savage fascist forces, become the birthplace of the stage costumes for the first plays at the Piccolo. The walls still bear the bloodstains of the tortured prisoners. In this space, charged with history, sits a woman, a seamstress who was a partisan during the years of resistance. She tells of the birth of the Piccolo Teatro di Milano, through the poetic and political vision of Paolo Grassi, a multi-talented intellectual, a man of literature and of action, willing to fight with all his strength for an idea of public theatre understood as a tool for collective growth. A decentralised and simple point of view that allows us to view, from a hidden corner, the creation of the most important theatrical adventure of the post-war period, which would not have been possible without the presence of Grassi, “the poet of the organisation”.
Duration: the play is currently in production and the duration may vary
