THE PASSION OF THE TROJAN WOMEN (LA PASSIONE DELLE TROIANE)
Cantieri Teatrali Koreja, Italy
Duration: 60 minutes
      
        Idea and project: Salvatore Tramacere
      Directed by Antonio Pizzicato, Salvatore Tramacere
      Cast:
    Cassandra - Maria Rosaria Ponzetta 
    Percussions - Vito de Lorenzi
    Choir - Fabrizio Saccomanno, Emanuela Gabrieli 
    Andromache - Ninfa Giannuzzi
    Guitar - Riccardo Marconi
    Hecuba - Silvia Ricciardelli 
    Accordion - Admir Shkurtaj
    Astyanax - Fabio Tinella
  Texts: Angela De Gaetano, Antonio Pizzicato,  Salvatore Tramacere
  Live music by De  Lorenzi, Gabrieli, Giannuzzi, Marconi, Pizzicato, Shkurtaj
  Musical Coordination: Antonio Pizzicato 
   Direction Assistant: Laura Scorrano
  Scenes, Lights and  Visual: Luca Ruzza with Bruno Capezzuoli and Fabio di Salvo
  Consultant /Griko Translator: Gianni De Santis
  Lights and Technical  Setting: Angelo Piccinni, Mario Daniele
  
  Thanks to Eliana Forcignanò and prof. Gino Pisanò,
  Kurumuny  for the images taken from Stendalì by Cecilia Mangini  
The Passion of the Trojan Women
The show has different levels of interest. One of these is the relation between Euripides’ tragedy and the theme of the Passion of Christ, as it is interpreted in Salento, a region in the South of Italy where ritual popular traditions still live. The song “Passjuna tu christu”, for example, is a beautiful music work of the “griko” area where people speak a language deriving from Greek, which is used in some moments of the show.
In Euripides’ tragedy, the death  of little innocent Astyanax reminds us of the crucifixion of the real Innocent,  Christ, thus mixing Andromaca’s crying with the crying of the Virgin Mary in a  unique, big pain. By putting in relation Astyanax’s death with the Passion of  the Christ, the pain of the women revises the painful weeping of the mourners,  crying for the departed, and is assimilated to the Virgin Mary and the pious  women’s crying for Christ’s death, that are, in their turn assimilated to the  Trojan women who, after the defeat, cry not only for the loss of their motherland,  but also for the loss of their beloved people, reasons of life.
          The whole story becomes a  universal tragedy of human sorrow, the big pain of all the mothers forced by  the destiny to renounce their sons. 
The choir nourishes the creation of sounds and atmospheres which take our mind to so distant, so close places where feelings, voices, words come out together with actions and images. Live music is composed by the musicians on stage, who are interpreters of the musical part which is on the same level of texts and actions. Thus musicians, singers and actors become protagonists of a performance that is something between theatre and music, between concert and theatre performance. And it is extraordinary natural, at the end, finding ourselves coming back to the essence: the human pain of a mother and the sacrifice of the beloved son’s innocence, a tragedy.
Cantieri Teatrali Koreja
Koreja’s artistical project is made up of “works”, “actions” and “stories” (little or bigger) coming from far away and, above all, from the deep need of building up a “residence for theatre and culture” open to innovations, to  the comparison between generations , a  kaleidoscope of arts, genres and experiences. 
Main  activities include production of plays touring both through  Italy and abroad, promotion of theatrical and cultural events, such as reviews  and festivals, and activity of research, training, theatrical pedagogy through  workshops, stages, meetings and exchanges, in collaboration with the teaching  of theatre and the history of performing arts at the University of Lecce.
Special Award for Artistic  Achievement – Festival Purgatorije 2009, Tivat,   Montenegro.
Award for the Best Direction – JoakimInterFest  2009, Kragujevac, Serbia
        



