Rome. 1611. In a workshop of artists district the young painter Artemisia fights furiously to impose their talent. His most formidable opponent is none other than her father, Orazio Gentileschi. Possessive, jealous, the celebrated painter in fact would like to hide from the world the sensual beauty and the genius of her daughter. But fate disrupts his plans: his collaborator and friend Agostino Tassi raped Artemisia. It follows a trial for rape, scandalous for the time, from which the young woman comes out victorious, even though it will cost a lot of effort to rehabilitate themselves, especially through her career in the eyes of society at the time, from the story of rape. The conflict between father and daughter will become a duel to the death, of which the one and the other will be from time to time, victors and victims.
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ARTE MI SIA GENTIL ESCHI  
as  a  grain of dust on a circumference
Our last production Arte Mi Sia Gentil Eschi also determines our transition from Greek tragedy to social and individual tragedy ; explores and narrates the extraordinary adventure of the first great painter woman celebrated and recognized in art history;the adventure of a woman who, in a world unfriendly to women, was able to impose his art and to strongly defend his vision of love and life. The spectacle, set in the imaginary room of Artemisia, it was composed and created by the indications of work and the suggestions of another artist, theater director, theorist and painter polish, our contemporary artist, Tadeusz Kantor. And especially to his conception of object trouvé (ready made), lthe object ripped to the reality of life, motionless, which constitutes a sacred and which together to abstraction, form a mystical unity . Or again in his conception of “mounting a performance” that was not to stage a literary work but to begin a process, create a staged reality, reconstruct a game. A game in which the literary text is separate from the spectacle and treated as  and semantic value, therefore in the most appropriate to its structure and its function. But it is not at the base of the performing arts and acting. The latter is completely independent and built on the creative properties of the actress in the role of Artemisia Gentileschi, who returns to her room imagination, her atelier, foreign presence, diaphanous, incorporeal: gradually her rebuilds, thus reconstructing her past. And throughout the relationship–challenge with itself, failedman-relationship with his father, apprentice of workshop–the absence of the mother, degenerate daughter and hidden–free woman, licentious and scandalously beautiful, lover and prostitute-love and violence of Agostino Tassi, victim and accused, against the rules and finally artist.
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photo gallery
published text  in italian
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