Filumena Marturano

1
Something leads me to think that this work will have to be lived with a certain sense of exhalation. Life passing in front of us, fast but fast. And somehow, just sketched. It has not been finished or limited, and even less as 'packaged', if it can be called that... It just happens in a real way, and that's why the exhalation we're going to feel during the show will want to be beaten back home.
As we read it, as the viewer sees it and also as we try it, we want to find that gesture that I think the author prints in the characters. A present lives in what they are looking for, finding the exact words, the forms, the necessary rhythms. Action that is moving forward without anything being fixed, where everything could change. A piece of life without refinement.
Filumena Marturano was written quickly. And maybe you need to test it and see it quickly. You don't want the mount to weigh. Not wanting the back to be an excessively metaphorical story. That's it. And here is possibly his greatness. In the end, there are small couple discussions. To see who's who. To be understood. To show love or dislove. The passion and strength of understanding.
Like a poem by Salvat Papasseit, or by Foix. ,All is now and nothing’, ,Nothing is mean and no time is Isarda...!’

2
Seeing a play and listening to the characters' conversations; though stigmatized, they have more to say than they teach. After the work, we'll have humanized a little. Because the piece does not give us certain lessons, or in any case we are not particularly interested. We're there, as those moments of his life happen. Let's watch. The essay is the film, as Jordi Balló said in a talk he gave to the Library, which he entitled precisely like this. As he shared us at the time, we do not feel like a finished work, framed, framed. We know that it is not such an important work. It's just a play in a theater, a fiction taken in counterbalance. A moment in their lives that we're lucky to spy.
Or at any rate that is what interests us.

3
Filumena is worth it. She is a revolutionary woman, located in her time and in the society in which Eduardo frames her. She fights against the stigma of her past, which she will reveal to us, and she wants to free her children from the prison that this implies. How many plays do not put their protagonists under the weight of the stigma? It really is a very theatrical principle... Or does the theatrical situation have anything that especially allows this game?
The contradictions of the social place, of restricted citizenship, the internal contradictions of the family that Philena demands, the very important everyday small things that are evident in the language, in the scenery, in the actors. And yet the passion is intense. With De Filippo it's through stereotypes that we follow everything.
Today, seen in a world that has changed so much and in which the gender perspective fortunately calls into question so many parameters, we receive Philumena as a strong woman who orchestrates a story in which it is him, Domenico, who follows a path defined by her. It is Filumena who invents and who marks the way, who carries the action and brings it forward. It'll go from being a strong woman to a more human, more spontaneous, freer woman. She doesn't talk about all this, but in the end she does... We'll let the public have a direct dialogue. A piece of life in front of us like an exhalation that we're going home to see.

Oriol Broggi