Jacopo Giacomoni
Residency from 28 to 30 August 2025
C32 performing art work space - Forte Marghera, Mestre Venezia
It is just a long sunset
Photo provided by Jacopo Giacomoni
CREDITS:
Text, directing, and performance by Jacopo Giacomoni
Sound design by Alessandro Gambato
Video and visuals by Furio Ganz
Scenography by Arianna Sortino
Costumes by Ambra Accorsi
Assistance and graphics by Eleonora Bonino
Music by Jacopo Giacomoni and Alessandro Gambato
Special thanks to Alessandro Sciarroni
Project in co-production with Teatro Stabile di Bolzano
In residence at Teatri Riflessi/IterCulture, in partnership with gARTen – theatre festival in the
park of the Claudia Lombardi Foundation for Theatre (Lugano), with the support of the European
Festivals Fund for Emerging Artists – EFFEA, an initiative of the European Festivals Association
(EFA), co-financed by the European Union.
With the support of IntercettAzioni - Lombardy Artistic Residency Center
With the support of Operaestate/CSC of Bassano del Grappa
SYNOPSIS
This is a mechanism of textual distortion for a theater of forgetfulness, for a theatrical hauntology. I recorded my father's memories, transcribed them, and dictated them to my computer, which in turn transcribed them; I reread them, re-dictated them to the computer, which transcribed them again, and so on. The process dislocates the text, just as my father's memory is dislocated by dementia. "Time is out of joint." We live in a present that cannot be remembered, haunted by a past that cannot be forgotten. It is a slow disintegration toward silence. There is no tension, there is ultimately no drama. It is just a long sunset.
A performance for voice, sax, and recorded memories.
Winning text of the "Franco Quadri" special mention of the 2023 Riccione Prize.
Winning text of the 2022 Futuro Passato call for proposals.
This is a mechanism of textual distortion for a theater of forgetfulness, for a theatrical hauntology. I recorded my father's memories, transcribed them, and dictated them to my computer, which in turn transcribed them; I reread them, re-dictated them to the computer, which transcribed them again, and so on. The process dislocates the text, just as my father's memory is dislocated by dementia. "Time is out of joint." We live in a present that cannot be remembered, haunted by a past that cannot be forgotten. It is a slow disintegration toward silence. There is no tension, there is ultimately no drama. It is just a long sunset.
A performance for voice, sax, and recorded memories.
Winning text of the "Franco Quadri" special mention of the 2023 Riccione Prize.
Winning text of the 2022 Futuro Passato call for proposals.
BIOGRAPHY
A graduate in Philosophy with a thesis on the existence of fictional characters, he works as a playwright and performer. In 2024, he won the Biennale Teatro Authors Competition with the play Tacet. In 2023, he won the Franco Quadri Special Mention at the Riccione Prize with the play È solo un lungo tramonto. He pursues structuralist research on dramaturgy, designing spectacular devices that embrace audience participation and chance, seeking to construct playful-ritual theatrical experiences that trigger short circuits with time and the gaze of spectators and performers.
In his latest works, he has created dramaturgical parasites that attack existing textual organisms, a theatrical device to elect humanity's greatest tragedy, a theatrical office for the celebration of a funeral on stage, a game to relive a second life on stage from scratch, and an experiment in theatrical hauntology on the loss of his father's memory. As a performer, he blends his career as an actor with that of a saxophonist, in a continuous exploration of free improvisation and non-idiomatic sounds.
A graduate in Philosophy with a thesis on the existence of fictional characters, he works as a playwright and performer. In 2024, he won the Biennale Teatro Authors Competition with the play Tacet. In 2023, he won the Franco Quadri Special Mention at the Riccione Prize with the play È solo un lungo tramonto. He pursues structuralist research on dramaturgy, designing spectacular devices that embrace audience participation and chance, seeking to construct playful-ritual theatrical experiences that trigger short circuits with time and the gaze of spectators and performers.
In his latest works, he has created dramaturgical parasites that attack existing textual organisms, a theatrical device to elect humanity's greatest tragedy, a theatrical office for the celebration of a funeral on stage, a game to relive a second life on stage from scratch, and an experiment in theatrical hauntology on the loss of his father's memory. As a performer, he blends his career as an actor with that of a saxophonist, in a continuous exploration of free improvisation and non-idiomatic sounds.
Photo provided by Jacopo Giacomoni
