The play begins at the Court of Pella, with a choir of grooms seeing Ipomene, King Atrace’s sister, waiting for the return of her lover Cloridoro. When Cloridoro comes back, the couple sings their mutual love. In the woods, Atamira, daughter of the Corinthian King, is miserable as she waits for the return of her husband Acrimante. Witnessing the sinking of a ship, she saves two unlucky men, who turn out to be Acrimante and his servant Bibi. After recognising her, Acrimante rejects Atamira’s love and instead chooses to follow young shepherdesses. Atamira grieves, then falls asleep: Atrace and Cloridoro, gone hunting, find her in this state. Atrace immediately falls in love with Atamira and promises to help her. Acrimante arrives at Court and falls in love with Ipomene, while Bibi wooes the nurse Delfa. When he comes back from hunting, Atrace learns about Acrimante’s arrival and tasks Cloridoro with looking after their host, to whom he is a loyal friend. While Cloridoro reunites with Ipomene, Acrimante asks Bibi to find a cure to his love for the Infanta. During a farcical duo involving two lovers, Bibi learns from Delfa that Ipomene loves Cloridoro. Bibi asks the nurse to take the young woman to Acrimante’s bedroom, where she is told that she will meet with her lover. During another meeting between Acrimante and Atamira, Acrimante mistreats his wife, who becomes miserable again. The act concludes with a dance of Squires or Moors around the King, who is deeply in love with Atamira.
When he tries to kiss Delfa from his balcony, Bibi falls. Atrace, who sees him flee on his mule dressed in his master’s clothes, believes that Acrimante has betrayed him; he imagines that he is the lover of his sister or of the woman he loves. He decides to avenge himself and has him called. Summoned by the King when he was with Ipomene, Acrimante must leave her. Atrace and Cloridoro are jealous of him—one about Atamira, and the other about Ipomene. The King puts Acrimante in prison, which is a source of distress for Atamira: her husband rejects her love once again. Cloridoro believes that Ipomene has betrayed him and reproaches her for things she does not understand. Atrace decides to sentence Acrimante to death, and Atamira offers to carry out his order. She gives him a vial of fake poison, and he falls apart after asking his wife for forgiveness. Atamira has the body carried to her room. Cloridoro is upset over Ipomene’s betrayal, and Delfa tells him the truth: the two lovers reconcile and agree to meet at night, in the garden. Atrace, who rejoices over Acrimante’s death, proposes to Atamira; she refuses, without saying that she is already married. After dark, Bibi falls asleep while he is guarding his master’s body. Delfa, who came to meet him, caresses him and pretends to be Acrimante’s spirit. Bibi is frightened for a moment. Then, embarrassed to talk about love next to the body, he takes Delfa outside the room. The demon arrives and claims Acrimante’s soul, in a dreaming scene taking place in Proserpina’s kingdom. The monsters and spirits dance during an interlude, while the Queen of the Underworld declares her love to Acrimante. Atamira is waiting for her husband to wake up. When he arises from his lethargic state (greatly scaring Bibi), she declares her love to him. Accusing his wife of attempting to kill him, Acrimante dismisses her again. Bibi informs him of the rendez-vous planned between Ipomene and Cloridoro: Acrimante shows up instead of his friend, in a night scene secretly witnessed by Atrace. When she realises her mistake, Ipomene screams for help; Tidemo, a counsel, rushes to her rescue. Acrimante kills him and flees. Atrace is set on finding the culprit and sentencing him to death. A Corinthian ambassador informs the King that they will be at war, unless he marries Atamira: the King formally proposes to the young Princess, but she refuses to marry him; when he tells her that he will marry her whether she wants it or not, so as to avoid the war, she decides to kill herself. On the run, Acrimante arrives at the garden in Tidemo’s palace, where he finds a statue of his owner. He begins to speak with the statue, which he eventually invites to dinner. The statue tilts its head forward, then goes have dinner with its host. One table and six statues appointed by Pluto appear: Tidemo sits down at the table, as the statues dance and praise Pluto in a song. The earth opens, Acrimante sinks towards the abyss while Tidemo flies off in the sky. Once in the abyss of the Cocytus, Acrimante asks for forgiveness; Caronte (Charon) takes him to the Underworld. At court, Bibi tells Atamira about her husband’s death. She can now agree to marry Atrace. The play ends with three marriages.

"On foot and by rod" puppet

Marionette with counterweight

Not specified

Acciaiuoli Filippo (aka Gran Burattinajo)

Apolloni Giovanni Filippo

Italy

Ronciglione

Rome

Printed

Jealousy

Seduction

Shipwreck

Statue coming to life

Unfaithfulness

Forced marriage

Lyrical

Melodramatic

Dramatic

Burlesque

Fantasy

L'Empio punito (libretto, title page)

Italian

King

Sister

Cousin

Prince

Princess

Counselor

Servant

Nurse

Ambassador

Sheperherdess

Devil

Proserpina

Captain

Charon

Sailor

Groom

Music

Interlude

Chorus

Avista

Speechless character

Love rivalry

Love story

Thwarted love

Shipwreck scene

Scene of recognition

Hunting scene

Character leaning against the window

Fall of a character

Comical fall of a character

Seduction scene

Monologue

Confinement

Fake death

Dreamt scene

Dream

Nightmare

Apparition of a god

Apparition of a monster

Apparition of demons

Demons dance

Night scene

Scene in the dark

Sword thrust

Sword fight

Duel scene

Gunshot

Messenger

Ascent to heaven

Flying machine

Final wedding

L'Empio punito

The Non-believer punished

Leandro (Leander) meets Hero while she is working in Venere’s (Venus’s) temple: it is love at first glance for the two of them, and their love story develops according to chivalric standards. The romantic dialogue finds an echo in the more prosaic duo between Lesbia and Millo, the two servants. When Hero, faithfully devoted to the goddess, refuses herself to Leandro, he grabs her coat and rips it. She begs him to spare her honour and declares her love before she decides, driven by passion, to die in the breast of her new divinity. Arbace and his suite of singing hunters cross the stage. Lucilla, the fickle lover of Tigrane, placed by the latter in the care of Leandro, tries to seduce Leandro and fails. The first act ends on a burlesque note, with Millo followed by a choir of seamen singing and smoking. Arbace, who fell in love with Lucilla, is helped by Giocasta (Jocasta): she organises a (rigged) love game, for Tigrane and his lover. The game consists in proving one’s faithfulness by blindly finding a sign of love. While her lover is blindfolded, Lucilla can enjoy Arbace’s kisses. Then she pretends to have won the game and dismisses her lover; Giocasta is amused by women’s cunning. In the meantime, Hero, dressed as a gypsy, puts Leandro’s faithfulness to the test. Seeing Millo, she predicts that he will have a blissful future if he presents her at Court: introduced as a great magician to Lucilla, she is entrusted with the writing of a lover letter intended for Leandro. Arbace understands that his new lover has betrayed him, and Tigrane is sorrowful. Lucilla dances with her suite at the very end of the act. While Leandro is desperately looking for Hero, the latter, disguised as a gypsy, gives him Lucilla’s letter. She is convinced of his good faith because he rips the letter before even reading it. Leandro decides to join his beloved at night by crossing the water; Hero plans on waiting for him on the neighbouring beach. Unfortunately, Lucilla overhears the conversation between the lovers and asks Arbace to avenge her and to kill Hero. At night, Leandro is about to drown. On her cloud, Venere summons the choir of Nereidi (Nereids) and asks them to save him and take him up in the sky. Arbace wants to hit Hero, who is anxiously waiting for her lover; he kills Lucilla while Hero transforms into Leandro’s plant (oleander). While Lucilla is dying, paying the price of her wrongdoing, the lovers reunite in Elysium, by Venere’s side.

Badovero Camillo

Venice

Love

Gipsy woman

Deception

Drowning

Venus (Goddess)

Ovide

Heroic

Tragic

Farcical

Gli amori fatali

Lord

Favourite

Leandre

Priestess

Virgin

Hero (priestess)

Chaperon

Lover (woman)

Secretary

Lover (man)

Venus

Guard

Hunter

Bridesmaid

Nereids

Undressed character on stage

Erotic scene

Dancing entertainment

Smoke

Wandering

Disguised character (false identity)

Investigation

Metamorphosis

Deus ex machina

Clouds

Il Leandro

Leander

The play opens with a “Prologo in cielo” (prologue in the sky) during which the Teatro Vagante (an itinerant theatre) is brought down from the fly towers to the stage: the Teatro Vagante is at once a cave, a house, a cradle, a cart and a theatre. The actors have seen the theatre of the gods, which they have to try recreating now because “a mystery must be revealed”. The mystery is about a country where people are insatiable and keep wanting to eat fresh meat, even though resources are scarce. There are no cattle, an epidemic has broken out in the countryside and rubbish produced by their residents is piling up in the suburbs. This jungle of metal is thought to be the home of spirits called “rottamat”, which people believe to be responsible for the disappearance of several villagers. Everyone praises the butcher for his excellent meat, but he turns out to be an evil character who commits murders to supply meat for his shop. Just like the devil, he takes on numerous shapes: he is simultaneously the Butcher, the Father, the crazy man Matteo and the Emperor. Every morning, the Mother and the Father (the Butcher himself) wait for the butcher’s shop to open so they can buy the best meat, even when their son is in a hospital after having been attacked by the Father. The Mother flirts with the Butcher – who embodies her erotic ideal – until she becomes his victim. Nobody suspects the Butcher. Or maybe everybody keeps quiet so they can keep enjoying his excellent meat? The killings go on until all the villagers have eaten one another. Ultimately, only the Watchman understands that the Butcher is behind the murders, but even he is killed in the end. According to the actors of the Teatro Vagante, only hope remains: “even hell can be transformed – I hope”, one of the actors declares.

Actor and puppet

Glove-puppet

Shadow theatre

Brescia

Consumer society

Meat

Pollution

Famine

Cannibalism

Death

Ecology

Evil

Grotesque

Giuliano Scabia, Fantastica visione, stage direction by Alessandro Marinuzzi, 1993.

sopra il taglio e la vendita di carne con cenni alla questione degli attori, dell'arte, del teatro e del mercato generale degli oggetti nel disarmonico presente

Actor

Butcher

Apprentice

Mother

Father

Student

Police officer

Fool

Smuggler

Puppet

Butterfly

Shadow

Voice

Emperor

Minister

Valet

Angel

Prologue

Song

Metatheatre

Political allegory

Double characters

Hidden corpse

Dialect

Blow-with-a-stick

Fight

Flying character

Masked characters

Dead talking character

Apparition of the Devil

Apparition of an angel

Puppet theatre within the theatre

Chase

Tragic irony

Stabbing

Murder on stage

Splitting of the body

Revelation

Thunderbolt

Fantastica visione

Fantastic vision

While the Father of a rich, bourgeois family is dying at the hospital, his house is being burgled. Pascaline, his help (who has become his wife since he became a widower) laments, but her daughter Sarah is delighted to be relieved of the burden of the memories attached to the objects. A Young Man (the Father’s son) happens to come back that very day after seven years of unexplained absence. Freddy, a young and attractive rogue, arrives the same day to ask his mother Pascaline to give him an explanation for the identity of his father and for the reasons that have led her to abandon him. Pascaline, who behaves like a mother towards the Young Man, rejects Freddy. We learn that she survived the Shoah when she was a child. She pretends to ignore who Freddy’s real father is and she also claims that, after denying her pregnancy, she entrusted her to her sister, who raised him without love in a poor suburb. An alcoholic and a very unstable person, she sees Nazis coming out of the walls, unless that it is Freddy who is manipulating her so that she tells him the truth. Later, Pascaline, drunk, confesses to Freddy we was born out of a short-lived relationship she had with a Maghrebin jazz musician who died during the Algerian War. She ends up accepting his son as a gift from God. Freddy’s attractiveness and the ambiguity of his behaviour reveal both the Young Man’s homosexual desire and Sarah’s need for love, as she was a prisoner of an unconditional love for her own brother, and therefore rejected any kind of sexual intimacy. The Young Man encourages his sister to find happiness with Freddy while he, knowing that she is happy, will be able to transition into the woman he realized he wants to be. The phone rings and the death of the Father is announced. Pascaline goes off to discover the world, encouraging Freddy and Sarah to build a fulfilling life as a couple in the house.