Hamletelia

 

Szekspirowski Festiwal Gdansk 2019

 

Jury Prize

 

For the spectacular and varied interpretative virtuosity, for the deep and passionate deconstruction of the heroine myth in a story of life, love, death and sweet and at the same time bitter art

 

Audience Award

 

For the feminist perspective of the Scespirian world, full of love for the theater

 

Fersen Award for Direction 2017

 

Motivation

 

I n scene we see an Ophelia rising from the grave with a liberating "Hamlet ... what a drag!".

And gradually it is represented with a brio, an irony, a taste for paradox and, in short, a lightness equal only to the depth of the subtext. In fact, our multifaceted character, in the darkness of the place that surrounds her, questions us and questions us about the articulated and crazy world of humans, well represented in the many and immortal Shakespearean characters, setting up an imaginary confrontation / clash, from time to time sensual or hallucinated or schizophrenic, with other male and female figures, such as Desdemona and Lady Macbeth. A comparison that develops in a beautiful scenic rhythm starting from a 'Hamlet' point of view, so that everything can be true but also false. As spectators, in this original and compelling Ophelia / Hamletelia we recognize the prototype of the woman victim of a patriarchal society that still breeds sick masculinities similar to that of the pale Prince. A female prototype that hides within itself an all-encompassing and deadly desire for love, which afflicts them due to low self-esteem and unmotivated feelings of guilt.

It is therefore an entertaining show, of great success, with an international breadth and distribution, staged by the author and interpreter with effective scenic minimalism in concert on a perfect one-woman-orchestra.

 

 

Luxuriàs. Lost in Lust

 

Fersen Prize for Dramaturgy 2015

 

Motivation

 

A funny and well structured monologue in which we see the protagonist, a young woman in the grip of an inexplicable attraction for the city of Ravenna, together with the sight of men she imagines in the act of piercing her chest. Frightened, she asks for help from a psychiatrist who convinces her to embark on a sort of regressive hypnotic journey. In fact, the woman regresses and identifies in the first place with Francesca da Rimini and, subsequently, with other women of the past but also of the recent present, such as the porn diva Moana, thus offering a feminine point of view of their life and their true feelings unprecedented compared to that, often sweet and fake, handed down by literature. An effervescent monologue that oscillates between the ironic, the dramatic and the surreal and which results, on stage, in a demanding 'actress test'.

 

 

Hamletelia

 

Fersen Prize for Dramaturgy 2013

 

Motivation

 

The young but already expert playwright and actress Caroline Pagani stages an Ophelia with a remarkable sense of rhythm and punctual theatrical language which, when she is dead, finally gives vent to her feelings and, above all, resentments against Hamlet, her mother and even William (Shakespeare) guilty, according to him, of having represented her as a victim with suicidal tendencies and not as a heroine, as she feels she is and therefore deserves to be represented. How to blame her in a company so unsuited to understand her true personality? It is therefore an ironic and original theatrical confession which, questioning the most famous drama in the world, seems to allude, with perfidious grace, to the inability of men, even the best, to understand the true feelings and desires of women. A play that also translates into a demanding actress test carried out by the author herself and also an interpreter.

 

Best Actress Rome Fringe Festiva 2013