Am ziel
by Thomas Bernhard
Played and directed by
Teatrino Giullare
Teatrino Giullare Production
with the support of Regione Emilia Romagna
and Comune di Bologna
Winner of Special Prize Ubu
Here everything moves in the most unnatural way
which is, after all, the most natural thing in the world.
Thomas Bernhard
A visionary staging by Teatrino Giullare as it wrestles with the verbal delirium of Thomas Bernhard and the staggering depth of his writing. The distorted humanity of Bernhard’s characters finds appropriate expression in the lyricism of the Company which has made the relationship between the human and the artificial the very substance of its creative research. The staging is both disciplined and innovative, with surprising scene stealers that enhance the rhythm and fascinatingly ambiguous nature of the play.
A rather inhumane mother and her inflexible daughter prepare for their usual holiday by the sea; in the midst of old clothes and distant memories, there is a hovering anxiety over the imminent arrival of the new and practically unknown travelling companion. The ritual packing and unpacking of suitcases and the anxious feeling of reaching a destination that is already known to be disappointing is explored by a great playwright who is spiky, cynical, absolutely lucid, controversial, amusing and disturbing.
Captivating. The power of Thomas Bernhard’s prose is mysteriously compelling.
Masolino D’Amico, La Stampa
A highly evocative work. The two actors lack neither ingenuity nor courage.
Renato Palazzi, Il Sole 24 Ore.
A little jewel.
Claudia Cannella, Corriere della Sera
Exquisite performance.
Giulio Frafuso, Close up
Disquieting and effective
Mario Bianchi, Eolo.
A happy “infidelity” with all the perfidious original humour.
Sara Chiappori, La Repubblica
Don’t leave it pass
Luca Vido, Il Giorno
Visually exact and fascinating.
Piergiorgio Nosari, L’Eco di Bergamo
A well-played operation.
Ludovica Radif, Corriere Mercantile
There’s nothing, but there seems to be everything.
Raffaele Reverso, La Repubblica (Genoa)
Gloomy, intense and refined.
Laura Santini, Mentelocale.it
The bet is widely won and Bernhard’s drama takes effective and interpretative benefit.
Maria Dolores Pesce, Dramma.it
The work on the contemporary dramaturgy of Enrico Deotti and talented Giulia Dall’Ongaro is confirmed today one of the most remarkable in the Italian theatrical scene and perhaps, one might say, the hidden dream of many playwrights.
Lucia Cominoli, Klpteatro
Unique design, cared for in every detail, perfect scenography and costumes.
Donato Panico, Teatro.org
An intense and fascinating work.
Rosilio Tondelli, Nokoss
A work written for great actors who ended up finding in the puppets, inanimate, perfect and inhuman, their essence, the highest distillate.
Roberto Canziani, Il Piccolo
The performance showed how an idea of “artificial actor” is able to face, in depth, the themes and the complex ambiguity of a text like this.
Claudio Melchior, Il Gazzettino
An unquestionably valid quality of invention.
Fabiana Dellavalle, Messaggero Veneto
Teatrino Giullare manages to capture the attention of the public, fascinating also with the excellent interpretation of the actors.
Quartopotere
A strong and clear performance, full of nuances, that Giulia Dall’Ongaro and Enrico Deotti played in a masterly and curious way. Floor the public, surprise him, play with elegance with the theatrical means, creating something never seen. You need to see it.
Elena Dalmasso, Teatro.org
A perfect inorganic device.
Stefano Serri, Culture teatrali
TEATRINO GIULLARE 