Adapted and directed by Maria Virginia Siriu by E. Toller
World revolution. Explodes the drama of the masses in the hot spots of the planet, the established order is subverted. The wheel mocking the system overwhelms everything and everyone: men, workers, bankers, soldiers, priests, citizens, ordinary people. Chaos reigns. Crisis invests everything: the stock market, the factories, the brothels, the wars, the feasts of charity.There can be a way for nonviolent social change?
A woman in the middle of a revolution confronts the Man, the boyfriend, the civil servant, dutiful and the law of the state and the "Unnamed", revolutionary leader, firebrand, paladin of a violent uprising.
Who will survive?
"Man", rational and individualistic, the Nameless instinctual and part of the mass or a passionate woman and non-violent?
This new stage adaptation made by Theandric TeatroNonviolento focuses on the work and the thought of Ernst Toller, writer, poet, and even anti-Nazi leaders of revolutionary movements, imprisoned and forced into exile for his ideals.
Masses Man: Fringe Review
Physical Theatre Review: Fiona Allen
" A classic piece of 1920s German expressionist agitprop, translated into English, and performed by an Italian cast, is what the Edinburgh Festival Fringe has always been about.
Ernst Toller’s masterpiece is given a bare stage production by a barefoot and sometimes bare-chested cast, who variously and at various times represent the proletariat, the army, a firing squad, and the members of the Stock Exchange. It examines what happens when an individual is pitted against the power of the state, and brings into sharp focus the reasons why Toller was first imprisoned and then went into exile, having become massively unpopular with the Nazi regime.
There is no disguising that this is extremely serious theatre, and not always easy to follow, but an engrossing piece of drama, not least because the movement skills of the cast take it well into the class of physical theatre. Fans of world music will love the Sardinian song in the middle, which accompanies the army marching to war, while the soldiers have, of course, their different reasons and viewpoints. A back-projected series of film clips and slides point up the nature of the gap between what politicians say and what soldiers and other ordinary people experience. Needless to say, there are contemporary parallels to be drawn."
T e a t r o N o n v i o l e n t o