THE ACADEMIC MALY DRAMA TEATR DI SAN
PIETROBURGO
TEATRO D'EUROPA
di
Brian Friel
regia
di Lev Dodin
scene
di David Borovsky
traduzione
russa di Mikhail Stronin
traduzione
italiana di E Ambrosini - M.
Raffaele - E. Brock
assistente alla regia Oleg Dmitriev
disegno
luci di Oleg Kozlov
disegno
suono di Elena Lapina,
Vladimir Troian
direttore
tecnico Nikolai Mourmanov
personaggi
e interpreti
Molly
Sweeney Tatiana Chestakova
Frank
Sweeney Serghei Kourichev,
Arkadii Koval,
Mr
Rice Petr Semak, Alexei
Devotchenko
capo
macchinista
Evgeniy
Nikiforov
tecnici
di palcoscenico
Mikhail
Andreev, Sergei Ivanov, Nikolai Kozliakov, Viktor Senin
elettricisti
Vitali
Skorodumov, Ekaterina Dorofeeva
tecnico
audio
Alla
Tikhomirova
costumi
Irina
Tsvetkova, Maria Fornina, Galina Ivanova
attrezzisti
Julia
Zverlina, Viktor Gorodkov
trucco
Galina
Varukhina
direttore
di scena
Olga
Dazidenko
THE
ACADEMIC MALY DRAMA TEATR DI SAN PIETROBURGO
Teatro
d'Europa con il supporto di KIRISHINEFTEORGSINTEZ
in
collaborazione con Change Performing Arts Milano
Versione
russa con sottotitoli in italiano e inglese
Molly
Sweeney has been blind since infancy. During her mothers long stays in hospital,
her father patiently teaches her to recognize by touch every flower; shrub
and tree In their garden
Gradually Molly overcomes her handicap, sets up house on her own and begins
to work as a physiotherapist. In a health club
At the age of forty she meets and marries Frank, who is unemployed, self-taught
and subject to unpredictable passions He persuades Molly despite her reluctance,
to go to Mr Rice, in the past a brilliant ophthalmologist though now on the
wane, in the hope that he will restore her sight, which she has learnt to
manage without
Rice performs an operation. For some time her sight is partially restored.
Denis Diderot wrote "Learning to see is not like learning another language,
but like learning a language for the first time "
For Molly -and certainly also for Frank and Rice -this learning process has
terrible consequences
Molly Sweeney was first staged at the Gate Theatre, Dublin, and directed by
Brian Friel, on 9 August 1994
Love
mixed with cynicism, idealism alternating with a lack of faith, the possibility
of looking and the inability to see, the path to eternal damnation paved with
good intentions.
What does man do with his own nature? What does nature do with him? Brian
Friel's play is full of life and in it life flows like the blood that flowed
in Greek tragedy
Brian Friel, a major Irish playwright, was born in Omagh,
County Tyrone (Ireland) in 1929 He taught in various schools from 1950 onwards,
before becoming a fulltime writer in 1960.
He has been a member of the Irish Academy of Letters since 1983 and has been
awarded an honorary D. Litt. by the National University of Ireland and by
Queen's University, Belfast.
He is married with five children and currently lives in Donegal.
Since his literary debut in 1965 with Philadelphia Here I Come!, Friel has
written over twenty plays including The Loves of Cass McGuire (1967); Lovers
(1968); Crystal and Fox (1970); Volunteers (1975); Aristocrats (1979); Faith
Healer (1979); Translations (1981); Three Sisters (1981), his translation
of Chekhov's play; The Communication Cord (1983); Fathers and Sons (1987);
Making History (1988); A Month in the Country (1990), his adaptation of Turgenev's
play; Dancing at Lughnasa (1990), on which Pat O'Connor's film is based; The
London Vertigo (1991); Wonderful Tennessee (1993); Give Me your Answet; Do!
(1997)