THE DUBLINERS

director Giancarlo Sepe

with Giuria Adami, Lucia Bianchi, Paolo Camilli, Federico Citracca, Manuel D’Amario, Enrico Grimaldi, Ivan Marcantoni, Annarita Marino, Bruno Monico da Melfi, Caterina Pontrandolfo, Giannina Raspini, Federica Stefanelli, Guido Targetti

and the special participation of Pino Tufillaro

stage and costume design Carlo De Marino

lighting design Umile Vainieri

music by Harmonia Team

in collaboration with Davide Mastrogiovanni

The project of THE 4 DUBLINERS (Wilde, Beckett, Joyce, Yeats) began in 2012 with the resumption of TALES OF OSCAR WILDE and had a second encounter with BECKETT’S BEDROOM, two great successes; now we have this very particular experiment on space with THE DUBLINERS/by JAMES JOYCE/ 15: THE DEAD/ Part 1. In my opinion, the soul of research, is actually linked to the scenic space which affects the rhythms and visions, and certainly the marvellous church of St. Saviour will play its part in this set up. No stage as the only visual reference, no seating for the public, only a sort of virtuous path that will bring together all of Joyce’s characters like in a long overview, where we meet the famous EPIPHANIES of the author, who in the sadness of the small stories of small men, will extract, from the daily apathy and immobility, that poetic light that feeds people devoid of any stimulus and any projection. Joyce flees from that emotional paralysis of his countrymen, who are pretending to celebrate Epiphany around a huge table with singing and dancing. Here the dead, says the author, are more alive than the living, they fought to the end...

He starts his theatrical career at a young age forming his own company and staging comic texts of Russian theater and contemporary Italian and foreign fiction.

He has directed a large number of productions of Italian and foreign authors throughout his career, the most important: Williams, Brecht, Sartre, Vitrac, Gogol, Fonvizin, Jarry, Weiss, Pirandello, Fabbri, Cechov, Ibsen, Arrabal, E. De Filippo, Lorca, Strindberg, Rosso di San Secondo, Euripide.

He founded the Teatro La Comunità in 1972 and after 10 years of research work and theater workshops he achieves success with the Triade: In Albis, Zio Vania, Accademia Ackermann. He debuts at the Festival of Spoleto with this last show in 1978 attaining great success.

Meeting Romolo Valli, Lilla Brignone, Uberto Bertacca, at the end of the ‘70s, was crucial. He wins the UBU prize in 1983 for Così è se vi pare with the great Lilla Brignone. In the following theatrical seasons he expands his projects, confronting himself with other artists of the "official" scene like Mariangela Melato giving rise to: Vestire gli Ignudi, Medea, Anna dei miracoli, and with Aroldo Tieri and Giuliana Lojodice he stages: Marionette che passione, Le bugie con le gambe lunghe and Care conoscenze e cattive memorie, Il Marito Ideale.

Starting in 1985 and for three consecutive seasons he conceives and produces three shows where he defines his theatrical language and the relationship between non-dramatic texts and scenic narration. For this purpose, he makes use of S. Fitzgerald, D’Annunzio, and the complete works of Becket, all set in D’Annunzio’s villa. In 1992 he produces Pazza with Ottavia Piccolo and Edipo Re at the Teatro Greco in Syracuse with Giancarlo Sbragia; in 1993 La storia di Zazà with Milva; in 1994 Macbeth with Franco Branciaroli; in 1996 Il re muore with Paolo Ferrari. In 1997 he debuts at the Festival La Versiliana with E ballando…ballando which will tour for more than four years in Italy and abroad (in South America).

In 1998 Sepe directs Puccini, work dedicated to Opere e Personaggi del Grande Musicista and Lezioni di canto with Paolo Ferrari; in 1999 with Aroldo Tieri and Giuliana Lojodice in L’amante inglese by Marguerite Duras.

In the same year he stages a very successful Madame Bovary, and then Marathon - la città della musica, which premiered at the Festival La Versiliana and then toured to Rome, Florence and Naples.

In 2001 he stages in his venue of Teatro La Comunità, the show Cine H amplifying his research for a theatrical language that provides even more strong interaction between speech and gesture, this pathway is also the basis of the new show that debuts with Monica Guerritore in Carmen always in 2001, the second chapter of an ideal female trilogy that will end in 2003 with La signora dalle camelie. Meanwhile, still in 2001, the experiment generates a new show at the Teatro la Comunità: Favole di Oscar Wilde, a great success which runs for four consecutive seasons, reaches 400 repeats and is winner of the ETI prize "Gli Olimpici Del Teatro" as best show of innovation in 2004. In the 2005 season, he resumes his role as actor, replacing Aroldo Tieri in L’amante inglese. In 2006, for the Teatro la Comunità he creates one last masterwork: La casetta a desperate appeal for not closing the theater and a new tribute to one of his favorite authors during the Notte Bianca, "Cento anni in una notte: Beckett a Palazzo Altemps". He is on stage with Shakesperaelow at the Teatro Eliseo in Rome.

Among the shows that Giancarlo Sepe loves: Vienna, Atto senza parole, Iliade (Festival of Spoleto 1980), Casa di bambola, all present in important International festivals like the Festival of Nancy, the Festival of New York, La Versiliana Festival and the Festival of Two Worlds in Spoleto. For Opera, in 1979, he edites: Lucrezia Borgia by Gaetano Donizetti with Alfredo Kraus under the baton of Gabriele Ferro for the Teatro Comunale in Florence; La Traviata for La Fenice in Venice, conductor Marcello Viotti, performed at the Beijing Opera in China. He has edited shows of great success for Andrea Giordana like Otello, Un ispettore in casa Birling and Il Bell’Antonio. In 2010 he projects and produces NAPOLETANGO for the Teatro Eliseo, a success which runs for 2 seasons and brings him to the London Coliseum. Then, in recent seasons: Il Dr Jekyll e Mr. Hyde – Morso di luna nuova (Le Maschere 2011 prize) – Molto Rumore per nulla. Beniamino – Beckett in camera da letto, finally this year’s great success: AMLETŌ (gravi incomprensioni all’Hotel du Nord) which he wrote, conceived and directed.