In 1968, as it was commonly said, fathers had to be killed. Forty years later, in the pages of Édouard Louis, a 26-year-old writer sets off after his father’s murderers and finds them among the ruling class. But, above all, he puts on the agenda of his writing the lives of people, stripped of any form of protection by power itself, whom others do not wish to hear about anymore. The miracle is that this bill of indictment does not make the Kafkaesque “letter to the father,” in which the son addresses the man that has eluded all confrontation for years and made him unable to confront himself, less touching.
That the last word, pronounced by the father, is “revolution” is revelatory of the great disquietude corroding the heart of deep France (among others).
Daria Deflorian and Antonio Tagliarini are authors, directors and performers. In 2008 they created Rewind, omaggio a Cafè Müller di Pina Bausch. Between 2010 and 2011 they wrote Reality Project, which led to the installation-performance czeczy/cose (2011) and the performance Reality (2012), which earned Deflorian the 2012 Ubu Prize as Best Leading Actress. Ce ne andiamo per non darvi altre preoccupazioni (2013) won a Ubu Prize in 2014 for Best New Italian Entry and the Critics’ Prize in Quebec, Canada, in 2016. They then created two site-specific works: Il posto (2014) and Quando non so cosa fare cosa faccio (2015) inspired by the film by Antonio Pietrangeli, Io la conoscevo bene.
Il cielo non è un fondale (2016) earned Gianni Staropoli the 2017 Ubu Prize for Best Lighting Design. In 2018 they premiered two projects about Michelangelo Antonioni’s film Deserto Rosso: Scavi and Quasi niente, for which Gianni Staropoli won another Ubu Prize for his lighting, Chi ha ucciso mio padre (2020).
[triennale.org]
