Democracy in America

Freely inspired to the book by Alexis De Tocqueville

Direction, scenes, lights, costumes: Romeo Castellucci
Texts: Claudia Castellucci and Romeo Castellucci
Music: Scott Gibbons

With: Evelin Facchini, Olivia Corsini, Gloria Dorliguzzo,
Giulia Perelli, Antonella Guglielmi, Sofia Danai Vorvila

Assistant director: Maria Vittoria Bellingeri
Maître répétiteur: Evelin Facchini
Stage sculptures and mechanisms: Istvan Zimmermann e
Giovanna Amoroso - Plastikart studio

Costume realisation: Grazia Bagnaresi
Footwear: Collectif d’Anvers

Stage-hands: Andrei Benchea,
Pierantonio Bragagnolo, Emanuele Cavazzana
Lighting board technician: Andrea Sanson
Sound board technician: Claudio Tortorici
Costumes keeper: Elisabetta Rizzo / Chiara Venturini
Photographer: Guido Mencari

Technical direction: Eugenio Resta, Paola Villani
Technical production staff: Carmen Castellucci, Francesca Di Serio,
Gionni Gardini, Daniele Magnani
Decorator: Silvano Santinelli
Production supervisor: Benedetta Briglia
Production assistant: Giulia Colla
Promotion and distribution: Gilda Biasini
Administration: Michela Medri, Elisa Bruno, Simona Barducci
Economic consultant: Massimiliano Coli

Executive production: Societas
A co-production with: deSingel International Artcampus; Wiener Festwochen; Festival Printemps des Comédiens à Montpellier; National Taichung Theatre in Taichung, Taiwan; Holland Festival Amsterdam; Schaubühne-Berlin; Festival d’Automne à Paris with MC93 Maison de la Culture de Seine-Saint-Denis à Bobigny; Le Manège - Scène nationale de Maubeuge; Teatro Arriaga Antzokia de Bilbao; São Luiz Teatro Municipal, Lisbon;
Peak Performances Montclair State University (NJ)
With the participation of: Théâtre de Vidy-Lausanne
and Athens and Epidauros Festival

The activity of Societas is supported by: Ministero Beni e Attività Culturali,
Regione Emilia Romagna, Comune di Cesena

When the young French aristocrat Alexis de Tocqueville returned from his long voyage to the United States of America in 1832, his study of this nation took the form of a two-volume essay on the country’s newly born political system. In this work, that would become one of the fundamental texts underpinning the contemporary Western world’s political vision, Tocqueville described a new model of representative democracy. Its origins lay in the customs, traditions, ideas and collective thought of these European colonies that had now been liberated and were headed towards a future of refoundation and freedom. American democracy – the first in modern times to be built on a vast scale and with radical intentions – had been established thanks to the phenomenon that Tocqueville defined as its Puritan Foundation – the contribution, that is, coming from Puritan communities in laying the groundwork for a true, evangelical equality between human beings. The topic that truly interested Tocqueville, however, was not America but democracy itself, which he minutely probes with anatomic precision, fascinated by the rebirth in this virgin new world of a political model that had been worn out by the passing centuries in Europe. De Tocqueville observed the potential of a young democracy, even while pointing out its dangers and limits, such as the tyranny of the majority, a weakening of intellectual freedom when faced with populist rhetoric, and the ambiguous relation between collective interests and individual ambitions. At the same time, in the New World, Power once again called into question its own representation. In classical Greece, Tragedy represented the necessary alter ego and the shadow of Athenian Democracy: with Democracy in America Romeo Castellucci follows De Tocqueville’s example and places himself in the time that precedes Politics. Once the Greek root has been severed, we arrive at the time that comes before the Birth of Theatre, in the instant of indeterminacy in which naked feet still tread on the smouldering ashes of the Feast that has by now been abandoned by the Gods, without yet knowing the beginning of Tragedy, created by Man. A work that traces the origin of a forgotten celebration, a rite that still has no name, in which Theatre renovates its primary function: to be the necessary and obscure mirror image of the arena for political struggle, and reflect the forms of society of the human race.