“Ismene,” based on the book “Fourth Dimension” by Ghiannis Ritsos, originates from the Greek mythology and delves into the contradictions of the present. A present ruled by fear, where war devours lives, civilization crumbles, and the West appears to collapse in on itself. The individual, crushed by a fate that seems inevitable, remains silent, deprived little by little of freedom and will.
At the center of the scene is Ismene, the fourth daughter of Oedipus, often forgotten and overshadowed by the more famous Antigone. Left on the margins of history, she finally finds a voice to denounce her family and the world that condemned her to ruin, claiming the right to decide her own future. Universal themes echo in her words: the inability to communicate that devours the soul, the illusion of power, the terror of oneself and one’s limits, the weight of regret, the fear of love, the temptation to give up. But also the choice to continue, putting oneself at the center of one’s own path.
Ismene thus becomes a hymn to life, determination and female courage, whatever the challenges that women face in today’s family, social and economic contexts.
Next to her, Massimo Bevilacqua with his electric guitar, soundtrack of a transformation that leads her to embody a rebellious heroine, an iconoclast with a rock flavor. Giving visual form to the work, the digital scenography by Alice Leonini.
Fulvio Cauteruccio‘s direction intertwines words and music in a sound journey that crosses genres and generations: from Depeche Mode to CCCP and CSI, from Johnny Cash to Edith Piaf and Nancy Sinatra. The result is a sort of rock opera, in which guitars and synthesizers blend with the oldest and most powerful words in human history.
