{"id":1140,"date":"2015-04-07T20:34:14","date_gmt":"2015-04-07T20:34:14","guid":{"rendered":"https:\/\/teatropovero.it\/spettacoli-teatro-povero\/strafatti-2\/"},"modified":"2016-05-02T20:41:02","modified_gmt":"2016-05-02T20:41:02","slug":"strafatti","status":"publish","type":"season","link":"https:\/\/teatropovero.it\/en\/spettacoli-teatro-povero\/strafatti\/","title":{"rendered":"sfratti\u00a0 (Evictions)"},"content":{"rendered":"<p><a href=\"https:\/\/teatropovero.it\/_mamawp\/wp-content\/uploads\/2015\/04\/1994.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\" size-full wp-image-402 aligncenter\" src=\"https:\/\/teatropovero.it\/_mamawp\/wp-content\/uploads\/2015\/04\/1994.jpg\" alt=\"1994\" width=\"269\" height=\"391\" \/><\/a><\/p>\n<p><em>Sfratti<\/em> was a landmark production in many ways.\u00a0 It ended of the habit of playing in two acts with an interval, in favour of a more concentrated one-act structure which has remained the norm ever since.\u00a0 It was also the first of many plays in which the Teatro Povero began to examine the value and function of <em>autodrammi<\/em> themselves, questioning particularly the company\u2019s own insistence on reviving memories of a peasant experience which might now be consigned to history.<\/p>\n<p>On a \u2018stage within the stage\u2019, a drama was enacted about a sharecropping family which faced eviction, homelessness and unemployment.\u00a0 The action was interleaved with readings from a historical chronicle, describing how Tuscan peasants reacted with collective solidarity against acts of oppression \u2014the \u2018Eviction\u2019 of the title\u2014by the landowners.<\/p>\n<p>Watching all this was a group of contemporary \u2018outcasts\u2019: Italian unemployed and foreign migrants, people whom the modern economy was depriving of work and of a home.\u00a0 The outcasts came into direct confrontation and conflict with the Monticchiello actors.\u00a0 Why was this stage used only to represent social and political issues from the past?\u00a0 Why could an <em>autodramma<\/em> not deal directly with the real urgent problems of the present day?<\/p>\n<p>The initial reaction of the actors was shown as being defensive: they shut themselves away from these inconvenient questions.\u00a0 But they were persuaded to open up again, and to communicate with their critics.\u00a0 They still suggested that old-fashioned peasant solidarity could be relevant to the present; and insisted also on the value of subversive fantasy presented on stage.\u00a0 In fact the <em>autodramma<\/em> concluded with a scene from a \u2018world turned upside down\u2019, in which the peasant family evicted their landlord.<\/p>\n","protected":false},"featured_media":402,"template":"","class_list":["post-1140","season","type-season","status-publish","has-post-thumbnail","hentry","category_season-autodramma-en","category_season-show"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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