“When the Cirque du Soleil approaches creators it asks them to venture into new scenographic and narrative territories. (…) We started from stereotypes… in order to overturn them. Ubiquitous slowness? We replaced it with speed – that of the Tarahumara, a Mexican people who live in the mountains and can run up to 200 kilometres non-stop, barefoot or wearing light sandals. Speed thus becomes an interesting element in circus language too, with its quest for extreme performance, thanks to magnificent acrobats and gymnasts drawn from around the world. For us, then, Mexican people display a great physical and spiritual capacity to go beyond incredible limits.” Daniele Finzi Pasca

“I dedicated this dream to the angels, who come and visit me at night. To the world of clowns, to which I belong, to the Cathedral of Chartres, which after my mother’s womb, is the second place where I was nurtured. To the pictures that my parents stole to reality, and which I put into movement, to the circuses and to their artists. What I meant to bring forth under the big top is theatre and its peculiar perspective made of overlapping images. I thus asked the acrobats to think as actors would, and to be beautiful and honest, just as beautiful love stories are. I was lucky enough to be surrounded by brilliant creators, with whom I immersed in a common world and a bonding adventure, receiving the full support of a production crew who allowed us to carry on with our dream. I also kept close to the friends from my troupe, Teatro Sunil, with whom I have been seeking beauty and honesty on stage for more than twenty years. To make one’s own funeral does feel good. For a moment, one feels necessary and motivated to keep going on this journey, which is in fact but a […]

“I dedicated this dream to the angels, who come and visit me at night. To the world of clowns, to which I belong, to the Cathedral of Chartres, which after my mother’s womb, is the second place where I was nurtured. To the pictures that my parents stole to reality, and which I put into movement, to the circuses and to their artists. What I meant to bring forth under the big top is theatre and its peculiar perspective made of overlapping images. I thus asked the acrobats to think as actors would, and to be beautiful and honest, just as beautiful love stories are. I was lucky enough to be surrounded by brilliant creators, with whom I immersed in a common world and a bonding adventure, receiving the full support of a production crew who allowed us to carry on with our dream. I also kept close to the friends from my troupe, Teatro Sunil, with whom I have been seeking beauty and honesty on stage for more than twenty years. To make one’s own funeral does feel good. For a moment, one feels necessary and motivated to keep going on this journey, which is in fact but a […]

"Icaro è stato creato rapidamente e le prove sono durate solo due mesi. Successivamente, ho continuato a perfezionarlo. E’ uno spettacolo semplice come lo erano le storie che raccontava mia nonna. Lei mi ha insegnato il segreto per fare gli gnocchi e la crostata di mele, preziose ricette che poi ho sistematicamente utilizzato nelle mie creazioni teatrali. Preparare una cena è un pretesto per incontrare delle persone." Daniele Finzi Pasca

"Tutti siamo un po’ acrobati, e sappiamo che la vita è un continuo riassestare un punto di disequilibrio. Ho sempre cercato di trovare un linguaggio che entri in sintonia con l’anima degli ascoltatori di oggi. La storia la si racconta nella lingua e le luci del presente, disegnate da decenni di astratto, di allusioni, di immagini sempre più vicine ai sogni, in un cerchio aperto che va dai ballerini ai cantanti, dagli acrobati ai musicisti. Come dei bambini che si fanno raccontare le favole per entrare nel sogno e vincere la paura. Dell’inconscio emerge la potenza della musica di Leoncavallo, con la sua storia piccola e semplice." Daniele Finzi Pasca

“I dedicated this dream to the angels, who come and visit me at night. To the world of clowns, to which I belong, to the Cathedral of Chartres, which after my mother’s womb, is the second place where I was nurtured. To the pictures that my parents stole to reality, and which I put into movement, to the circuses and to their artists. What I meant to bring forth under the big top is theatre and its peculiar perspective made of overlapping images. I thus asked the acrobats to think as actors would, and to be beautiful and honest, just as beautiful love stories are. I was lucky enough to be surrounded by brilliant creators, with whom I immersed in a common world and a bonding adventure, receiving the full support of a production crew who allowed us to carry on with our dream. I also kept close to the friends from my troupe, Teatro Sunil, with whom I have been seeking beauty and honesty on stage for more than twenty years. To make one’s own funeral does feel good. For a moment, one feels necessary and motivated to keep going on this journey, which is in fact but a […]

“I dedicated this dream to the angels, who come and visit me at night. To the world of clowns, to which I belong, to the Cathedral of Chartres, which after my mother’s womb, is the second place where I was nurtured. To the pictures that my parents stole to reality, and which I put into movement, to the circuses and to their artists. What I meant to bring forth under the big top is theatre and its peculiar perspective made of overlapping images. I thus asked the acrobats to think as actors would, and to be beautiful and honest, just as beautiful love stories are. I was lucky enough to be surrounded by brilliant creators, with whom I immersed in a common world and a bonding adventure, receiving the full support of a production crew who allowed us to carry on with our dream. I also kept close to the friends from my troupe, Teatro Sunil, with whom I have been seeking beauty and honesty on stage for more than twenty years. To make one’s own funeral does feel good. For a moment, one feels necessary and motivated to keep going on this journey, which is in fact but a […]

"Ho deciso di scoprire Čechov andando alla ricerca di particolari, di dettagli nella sua vita, nelle pagine dei suoi scritti e non solo. Ho pensato di dare forma ai silenzi contenuti nelle note dei suoi diari e di creare immagini partendo dalle sue annotazioni. Poi ho cercato vite parallele alla sua nel giardino di casa mia, perché è il solo modo che conosco per raccontare storie, scavando sotto le rose alla ricerca di un tesoro. Vengo da un teatro impregnato profondamente dal linguaggio dei clown, dei giocolieri, dal mondo delicato e magico dell’acrobazia. Così racconterò Čechov e per farlo mi circonderò dagli stessi complici di sempre, creatori con i quali da anni collaboro e con i quali condivido non solo un’estetica e un modo di pensare il teatro, ma pure l’appassionato modo di difendere il nostro mondo immaginario." Daniele Finzi Pasca

“I dedicated this dream to the angels, who come and visit me at night. To the world of clowns, to which I belong, to the Cathedral of Chartres, which after my mother’s womb, is the second place where I was nurtured. To the pictures that my parents stole to reality, and which I put into movement, to the circuses and to their artists. What I meant to bring forth under the big top is theatre and its peculiar perspective made of overlapping images. I thus asked the acrobats to think as actors would, and to be beautiful and honest, just as beautiful love stories are. I was lucky enough to be surrounded by brilliant creators, with whom I immersed in a common world and a bonding adventure, receiving the full support of a production crew who allowed us to carry on with our dream. I also kept close to the friends from my troupe, Teatro Sunil, with whom I have been seeking beauty and honesty on stage for more than twenty years. To make one’s own funeral does feel good. For a moment, one feels necessary and motivated to keep going on this journey, which is in fact but a […]

“Ho deciso di scoprire Čechov andando alla ricerca di particolari, di dettagli nella sua vita, nelle pagine dei suoi scritti e non solo. Ho pensato di dare forma ai silenzi contenuti nelle note dei suoi diari e di creare immagini partendo dalle sue annotazioni. Poi ho cercato vite parallele alla sua nel giardino di casa mia, perché è il solo modo che conosco per raccontare storie, scavando sotto le rose alla ricerca di un tesoro. Vengo da un teatro impregnato profondamente dal linguaggio dei clown, dei giocolieri, dal mondo delicato e magico dell’acrobazia. Così racconterò Čechov e per farlo mi circonderò dagli stessi complici di sempre, creatori con i quali da anni collaboro e con i quali condivido non solo un’estetica e un modo di pensare il teatro, ma pure l’appassionato modo di difendere il nostro mondo immaginario.” Daniele Finzi Pasca

"I teatri come le navi, sono luoghi costruiti per viaggiare, gli uni dentro se stessi, dentro il nostro inconscio gli altri per trasportarsi sopra i mari raggiungendo terre lontane. In questo Requiem il trapasso, il mondo del “dopo” è raccontato con leggerezza, come se si cadesse dentro ad un sogno, come se quello che succederà dopo, nonostante le paure di tutti, sarà luminoso e magico. A volte una benda davanti agli occhi ci impedisce di vedere quanto ci circonda, in questo spettacolo l’innocenza di un bambino ci prenderà per mano e ci farà sorvolare con leggerezza il mare denso ed inquieto, la tempesta emozionale che Verdi ci ha lasciato come legato. La notte del debutto di Aida, l’anno passato, a cena con maestro Gergiev Julie ha lanciato un’idea che ad un anno di distanza prende forma e vita: raccontare la Leggerezza navigando sulle acque gonfie di emozione di questa straordinaria partitura e farlo con un coro bendato e un bambino che vola attaccato a mille palloncini sulla testa dei solisti, sopra il cuore dell’orchestra, nei sogni degli spettatori." Daniele Finzi Pasca