The earliest narration of One Thousand and One Nights, also known as Arabian Nights, dates back to a millennium ago. Nevertheless, its topics appear to be contemporary as inhuman brutality endures and is at risk of thriving anywhere: in intricate woods, in the trunk of a car, or in the sinister spying on secret doors and locks that hide havoc and horrors.
Our protagonist lives in the present time.
The theme of the One Thousand and One Nights is only a pretext, the leitmotif, a frame that connects visions and fragments of happy or tragic stories drawn from mythology, fairy tales, literature, and drama ... up to anecdotes originating from the chronicle of our times. A dreamlike and visionary universe which theater can offer and which through headlines touches us every day.
The show is structured like a maze in which one passes from one story into the next; a labyrinth where tales are shackled to one another like the links of a chain in a narrative device that is “the theater in the theater”. A theater that is at times in the form of a continuous representation and at times rhapsodic, sprinkled with poems and songs, with the aim of creating a unique tapestry that aims to be be an auspicious hymn to life.
Maria Grazia Cipriani