Szekspirowski Festiwal Gdansk 2019
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
For the feminist perspective of the Scespirian world, full of love for the theater
Fersen Award for Direction 2017
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
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'.
Fersen Prize for Dramaturgy 2013
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
Winner of the Internationales Regie Festival , Leipzig, 2008.
"SinestesiaTeatro" Prize, The Monologue and its Languages:
best show, best direction.
Awards "La Corte della Formica" , Naples, 2009
(President of the jury Carlo Cerciello)
- best actress
- best show
- best direction
-first popular jury prize
The Court of the Ant
Best Actress - For having made of her own body and voice the original and hypnotic sounding board of the magical and irresistible attraction for the immortal models of the dramaturgical-literary tradition of the West.
Best show - For the very refined and evocative metapoietic work with which the piece aims to dismantle, intervene and restructure the Shakespearean archetype, without betraying its fascinating semantic ambiguity.
Best Director - For having directed a composite dramaturgical project with balance and experience, managing to filter ideas, echoes and enchantments within an always precise and punctual scenic plot.
- Winner of the first prize of the National Women's Union competition, "All on stage", Milan, 2009:
The technical jury of the competition All on stage! expresses itself for the assignment of the first prize to the theatrical project "Mobbing Dick" by Caroline Pagani with the following reasons:
- In terms of content, the Jury appreciated the relevance of the topic: the condition of many women in the world of work, especially women artists. In particular, he liked the choice of starting from a minor Shakespeare classic, "Misura per Misura", to link it with irony and ingenuity to the contemporary.
- In terms of the chosen theatrical languages, the Jury assessed the imaginative intersection between past and present as interesting: the contemporary star system that frames the seventeenth-century drama.
- In terms of the linguistic quality of the recited text, the balance and liveliness between the contemporary text and the Shakespearean text was appreciated.
- Festival "the Court of the Ant", Naples, 2010,
For confirming, thanks to a brilliant, ironic, savory and extremely effective interpretation, that singular interpretative maturity that allowed her to express, with a marked natural disposition, her talent as an actress, specialized in witty and lively one woman shows.
Best Actress in the “Dramaturgy” Competition, Rome 2014.