Io Non Sono Nessuno is Emilia Verginelli’s first project and it originates from an observation of relationships, what they are beyond definitions and ties of blood and how the concept of family is redefined through community. A puzzle of intertwined relationships, originated through a collection of interviews, tries to redefine the concept of ‘role’. On stage with Michael Schermi and the break dancer Muradif Hrustic. Io Non Sono Nessuno arrives in preview at Short Theatre 2020 and will debut in December at Santarcangelo Festival 2050 – Winter is Coming.
“Io Non Sono Nessuno is a collection of my experiences as a volunteer theater teacher in a group home. It illustrates my relationship with some of the children who live there, and especially with Muradif. It enters this place, a ‘home’ to those who don’t have one, where the primordial roles of ‘mother- father-son’ are replaced by those of educators, legal guardians, lawyers, social workers, nuns, judges, adoptive parents, psychologists, volunteers… What do all these roles mean?
What do they define? What is a role?
These questions are the starting point of a theatrical investigation of human relationships, which unfolds through interviews with Muradif, Michele, Daniele, Marilu, Siham and Pasquale, my Dad. Are we inextricably tied to the roles we play, or can we live without them? On a theater stage, the roles become a game of disguises that we can do and undo, to reinvent our memories or redefine our identities.
Io Non Sono Nessuno employs a distinct theatrical language that takes shape through interviews, breakdancing, and portrayals of shared experiences that explore multiple viewpoints.”
Io Non Sono Nessuno has reached the final of Premio scenario 2019.
Emilia Verginelli was born in Rome, she completed her studies in the United States. She studied theater with Ragnar Freidank, Declan Donnellan, Fabrice Murgia, Natalie Beasse, Thomas Ostermeier, Daria Deflorian, Lucia Calamaro, Fanny and Alexander. She also trained as a dancer with Julie Stanzak of the Pina Bausch Company, and Gabriella Garrizo of the Peeping Tom Dance Company.
In 2003, she created an ongoing theatrical workshop that takes place within group homes overseen by the Juvenile courts of Rome. She’s the founder of The Gruppo Sorriso Roma Onlus. Emilia has also worked on camera since 2004, acting in feature films directed by Carlos Saura, Asia Argento, Paolo Virzi’ and Daniele Lucchetti among others, and in TV shows including Squadra Antimafia and in 2010 she created Fivizzano27, a private, indipendently funded artist collective located in the heart of Rome’s Pigneto neighborhood.
by Emilia Verginelli
with Muradif Hrustic, Michael Schermi, Emilia Verginelli
audio and video contributions Pasquale Verginelli, Daniele Grassi, Marilù Rebecchini, Siham El Hadef
lights design Camila Chiozza
dramaturgy collaboration Luisa Merloni
assistant director Brianda Carreras
assistant scenography Gioia Salvatori e Aglaia Mora
post-producyion Matteo Delai
communication Federica Zacchia
stage photography Claudia Pajewski
co-production Santarcangelo Festival
supported by fivizzano27, Angelo Mai/Bluemotion, carrozzerie| n.o.t, mixò ass.culturale
in collaboration with Teatro Di Roma – Teatro Nazionale
© Claudia Pajewski
Notes on Short Theatre 2020
What else is your work about, besides what is already told in the synopsis?
In Italy family has been portrayed as an ideal place. But this is not always the case and who hasn’t got one feels lost. Muradif, who I interview in my play, found a new family in his break dance peers:
being part of a community and of a collectivity are both what constitutes the identity of each of us,
as much and even more than blood ties.
Who or what—real or imaginary, present, past or future—do you think contributed to the creation of this work? Is there any object/trace you own that can make this clear?
On matche’s boxes we stick pictures of us, pictures we took, memories. We’ve been doing it for years. And then we use our phones and they become other recipients of these memories that becomes an archive of singular and collective Memory.
What do you imagine you will say about this work in fifteen years time? Would you ever have imagined making such work fifteen years ago?
Io non sono nessuno is the first play I wrote and directed and I believe it will be forever the first time even in fifteen years. Being on stage with Muradif is extraordinary for me. I met him for the first time when he was seven, he watched me teach theatre to other kids he didn’t want to join us, he only wanted to dance he would pass by the gym where the lesson took place and ask: what’s it for?