Era il 1966 quando Un uomo, una donna vinse il Festival di Cannes e l’Oscar per il miglior film straniero. Oggi, Claude Lelouch torna a dirigere Anouk Aimée e Jean-Louis Trintignant, per il finale della storia d’amore divenuta cult. L’ex-pilota di rally si trova in una casa di riposo e sembra aver perso la memoria. Suo figlio va a cercare Anne per risvegliare nel padre quella storia che non è mai finita. Le musiche di Francis Lai, la memoria, i desideri di quello che non sono riusciti a fare insieme diventano protagonisti in questa dichiarazione d’amore al cinema, tra ricordi e immaginazione perché, come dice Victor Hugo: “I migliori anni della nostra vita sono quelli che non abbiamo ancora vissuto”. Da brividi il momento in cui Jean-Louis e Anne si rivedono, quando lui la riconosce senza averla in realtà riconosciuta, dando visivamente corpo alla straordinaria riflessione di Lelouch sul mistero della vita e dei sentimenti. 

by and with Emilia Verginelli
and with Dario Costa
literary consultancy Sara De Simone
sound Francesca Cuttica
lights Camila Chiozza
bluemotion production
© Claudia Pajewski
thanks to Roberta Luciani, Viola lo Moro, Andrea Pizzalis, Naoures Rouissi, Filomena Fusco, Vincenzo Rilletti, Benedetto Patruno, Ubaldo, Gianni, Alessandro, Andrea Beghetto, Luisa Merloni, Elisa Alessandro, Elena Bastogi, Benedetta Boggio, Giorgina Pi, Lucia Calamaro,
translations by Brianda Carreras, Alexia Sarantopoulou, Elise Blotière, Tomasz Kireńczuk, Naoures Roussi, Neon Loriga, Yan Duyvendak
interpretation LIS Edgarda Samaritani
project supported by FONDO Network for emerging creativity developed by Santarcangelo Festival with AMAT, Centrale Fies, ERT - Emilia Romagna Teatro Fondazione, Fabbrica Europa, I Teatri di Reggio Emilia, L'arboreto - Teatro Dimora | Centro di Residenza Emilia- Romagna, Operaestate Festival Veneto / CSC Centro per la Scena Contemporanea, Ravenna Teatro, Teatro Pubblico Campano, Teatro Pubblico Pugliese, TSU Teatro Stabile dell'Umbria, Triennale Milano Teatro
artistic meetings by FONDO Yan Duyvendak, Camille Louis, Ana Pi
among the winners of the Project CURA 2022 Elsinor Centro di Produzione Teatrale / Teatro Cantiere Florida (Florence) + Cross residence (Ameno, Verbania)
residences (2020-2023) India Theatre - Rome Theatre (Rome), fivizzano27 (Rome), KRAKK (Santarcangelo di Romagna), Ateliersì (Bologna), Spazio '500 ( Vigolo Vattaro) Angelo Mai (Rome), Centrale Fies (Dro), AMAT e Teatri di Pesaro (Pesaro), Teatro Nuovo (Naples), Teatro Pubblico Pugliese (San Vito dei Normanni)

with subtitles in English, French, Spanish, Greek, Arabic, Polish, Dutch
and accessible in LIS (Italian Sign Language)

Lourdes is the story of a meeting, of several meetings. It is the story of those who have been and those who have never been to Lourdes. Those who imagine it, who hate it, who would have wanted to go there and ask for a miracle. It is a conversation, a series of dialogues happened in time between the author and people, following an order that goes from narration to memory, from memory to a reflection and then remains in the present of the scenic representation.

by and with Emilia Verginelli
and with Dario Costa
literary consultancy Sara De Simone
sound Francesca Cuttica
lights Camila Chiozza
bluemotion production
© Claudia Pajewski
thanks to Roberta Luciani, Viola lo Moro, Andrea Pizzalis, Naoures Rouissi, Filomena Fusco, Vincenzo Rilletti, Benedetto Patruno, Ubaldo, Gianni, Alessandro, Andrea Beghetto, Luisa Merloni, Elisa Alessandro, Elena Bastogi, Benedetta Boggio, Giorgina Pi, Lucia Calamaro,
translations by Brianda Carreras, Alexia Sarantopoulou, Elise Blotière, Tomasz Kireńczuk, Naoures Roussi, Neon Loriga, Yan Duyvendak
interpretation LIS Edgarda Samaritani
project supported by FONDO Network for emerging creativity developed by Santarcangelo Festival with AMAT, Centrale Fies, ERT - Emilia Romagna Teatro Fondazione, Fabbrica Europa, I Teatri di Reggio Emilia, L'arboreto - Teatro Dimora | Centro di Residenza Emilia- Romagna, Operaestate Festival Veneto / CSC Centro per la Scena Contemporanea, Ravenna Teatro, Teatro Pubblico Campano, Teatro Pubblico Pugliese, TSU Teatro Stabile dell'Umbria, Triennale Milano Teatro
artistic meetings by FONDO Yan Duyvendak, Camille Louis, Ana Pi
among the winners of the Project CURA 2022 Elsinor Centro di Produzione Teatrale / Teatro Cantiere Florida (Florence) + Cross residence (Ameno, Verbania)
residences (2020-2023) India Theatre - Rome Theatre (Rome), fivizzano27 (Rome), KRAKK (Santarcangelo di Romagna), Ateliersì (Bologna), Spazio '500 ( Vigolo Vattaro) Angelo Mai (Rome), Centrale Fies (Dro), AMAT e Teatri di Pesaro (Pesaro), Teatro Nuovo (Naples), Teatro Pubblico Pugliese (San Vito dei Normanni)

with subtitles in English, French, Spanish, Greek, Arabic, Polish, Dutch
and accessible in LIS (Italian Sign Language)

Lourdes is the story of a meeting, of several meetings. It is the story of those who have been and those who have never been to Lourdes. Those who imagine it, who hate it, who would have wanted to go there and ask for a miracle. It is a conversation, a series of dialogues happened in time between the author and people, following an order that goes from narration to memory, from memory to a reflection and then remains in the present of the scenic representation.

Winnet at Scenario Award Suburbs 2023
by and with Valentina Dal Mas
original text by Valentina Dal Mas
technical direction Federico Fracasso
Audio recordings Matteo Balbo
creation assistant Ludovica Messina Poerio
thanks to Angela Marangon, Claudia Rossi Valli
with the support of Scenario ETS and Teatro Due Mondi - Residence for artists in the territories, Faenza
production La Piccionaia Theatrical Production Center

Luisa was inspired by a meeting, with a woman named Luisa.
Luisa sews. She sews her red cheeks, her emotions and the words that belong to her shy, fluffy and intense eyes. She sews so she does not lose the thread of her life. Just as Delacroix had brought together people of all ages and social classes in his painting Liberty Leading the People, so Luisa created around her a gathering of changing and dissonant human nuances in their becoming. But Luisa does not draw the flag of a nation to the sky: she holds a rose.