REVIEWS, INTERVIEWS…<\/h4><\/div>Carlo Lei (IL SESSO DEGLI ANGELI) - KLP - 04\/02\/2025<\/h2><\/a><\/div><\/div>\n\n\u201cIlenia Romano and Erica Bravini are among today\u2019s most amazing dancers. (…)
\nBoth boast a technical quality that goes beyond mere virtuosity and continues to make them the perfect dancers for that personal, evocative, crackling, demanding \u201ctheatre of dance\u201d (V. Valentini) that Roberto Castello has been bringing to the stage for thirty years.
\nHe uses a corporeal lexicon made up of the lightning-fast and unmediated presence of gesture, both when it expresses itself internally in a discourse and when it requires, as often happens, a change of subject and level of communication. A language that is continuously imbued with things, at the same time far from all abstraction and crass mimicry, in which glances are no less important than steps (…) and which, starting from rigorously danced elements, opens up to the most tingling manifestations of a world as elusive as ours, confirming dance\u2019s role as a discourse on the present…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Elisa Vaccarino (INFERNO) - BALLET2000 ed. English n290 - 2022<\/h2><\/a><\/div><\/div>\n\n“…Castello proves himself unwavering in his belief, consistently sarcastic and anarchical and abetted by an excellent group of four female and two bearded and long-haired male dancers, each possessing his or her own particular character and physicality, alongside a mistress of ceremonies, Alessandra Moretti, expressing herself in a discourse on art in pseudo-Brazilian.
\n(…) Then it is time for the infernal \u2018truth\u2019, an extended dance, full of energy, a jubilant saraband of great virtuosity, deliberately excessive both in intensity and duration, like those who have literally been possessed by the Devil. Castello\u2019s fascination with the tradition of African movement, tackled in his previous Mbira, here brims over in breath-taking rhythmic mastery; the sounds are techno, jazz and folk…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Marie Gracia (INFERNO) - Classyk\u00eao - 13\/06\/2023<\/h2><\/a><\/div><\/div>\n\nSoir\u00e9e d\u2019enfer au Th\u00e9\u00e2tre de la Ville ! – “…Inferno<\/em> est une \u00ab pi\u00e8ce \u00e9puisante \u00bb et le \u00ab rythme est infernal \u00bb comme son nom l\u2019indique. (…) ils sont infatigables. Et en plus ils sont s\u00e9duisants et d\u00e9gagent un sex-appeal incontestable, car Inferno<\/em> c\u2019est avant tout un jeu de s\u00e9duction.
\n(…) Nous avons donc assist\u00e9 \u00e0 une danse des \u00e9gos color\u00e9e et divertissante mais surtout \u00ab emplie de joie de vivre \u00bb avec des danseurs incroyables.”<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>Isabel Steinb\u00f6ck (INFERNO) - Westf\u00e4lische Nachrichten - 05\/03\/2023<\/h2><\/a><\/div><\/div>\n\n“…Castello geht es um Selbst- und Fremdoptimierung, um die H\u00f6lle im Allt\u00e4glichen. Dass er dabei auf Wiederholung setzt, bringt das sprichw\u00f6rtlich qu\u00e4lende \u201eHamsterrad\u201c zum Ausdruck, zur Perfektion getrieben, wird sein \u201eInferno\u201c dagegen zum Vergn\u00fcgen. Allzu gern sieht man diesen energiegeladenen Bewegungsk\u00fcnstlern zu, wenn ihnen die Elektro-Beats wie Stromst\u00f6\u00dfe durch die Glieder fahren. Eine wabernde Masse, die den Sound gekonnt in Tanz \u00fcbersetzt, und das ist auch gut so, schlie\u00dflich geh\u00f6rt es zur Profession, dass sich Tanzk\u00fcnstler bis an die Spitze treiben. Gro\u00dfer Applaus des Publikums im Pumpenhaus.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Gianfranco Capitta (INFERNO) - il manifesto - 20\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…the choreography is aggressive and captivating, evolving from some poses of apathetic dullness into aggressive visions and pure pleasure (the physical difficulty is as evident as effective). This Inferno almost becomes a choice of lifestyle, vitality and pleasure.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Lucia Medri (INFERNO) HYSTRIO gen.'22 - Teatro e Critica - 10\/12\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…feverish, attractive and playful… (…) …their clean movements, the balanced emphasis of expressiveness, the profanity of posture and the grotesque smirk, amount to an hourly performance which is an irresistible danced pun…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Andrea Porcheddu (NEL MIGLIORE DEI MONDI POSSIBILI and INFERNO) - Gli Stati Generali - 14\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…a shining and forcefully happy slaying race..\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Carlo Lei (INFERNO) - KLP Teatro - 09\/12\/2021<\/h2><\/a><\/div><\/div>\n\u201c…an explosive work, arrogant in the increase and virtuosity of danced gestures and yet contextually clear…\u201d<\/p>\n<\/div><\/div><\/div>
Simona Cappellini (RE_PLAY) - KLP Teatro - 01\/10\/2021<\/h2><\/a><\/div><\/div>\n\n“…The performance is filled with irony, a characteristic that naturally belongs to Giselda, although the presence of \u201cdisturbing\u201d elements help unravel the most unconscious part of the memory\u00a0\u2026\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
<\/div><\/div>Christian Raimo (IN GIRUM...) \u2013 INTERNAZIONALE - 25 October 2015<\/h2><\/a><\/div><\/div>\n\n\u201c… In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. (\u2026) If I need to conclude with two examples to represent everything I would take them from dancing.
\nOne of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour - The Theatre Times - 08\/2021<\/h2><\/a><\/div><\/div>\n\nWritten by Ariadne Mikou | 6th Aug 2021 | Interview, Italy, Theatre and Dance.
\nDuring the second edition of the artist-led Mercurio Festival in Palermo, the Italian choreographer Roberto Castello was invited to give a workshop and share his long-standing physical and movement experience with professional dancers, performers and actors. Considered as one of the pioneers that shaped the Italian contemporary dance scene, he is self-claiming to be the most politically engaged director and choreographer of his generation. Alone this statement is a strong invitation to explore the reasons behind this claim and it inevitably guided our discussion towards unraveling the political aspects of his work…<\/p>\n<\/div>\n<\/div><\/div><\/div>
Rodolfo Di Giammarco (IN GIRUM...) - La REPUBBLICA - 20 September 2015<\/h2><\/a><\/div><\/div>\n\u201c… a masterpiece of dance that studies the human body in the grip of hysteria, hypnosis and abuse with touching dynamics. […] this brilliant creation by Roberto Castello is a collection of postures by four performers who continuously find themselves in gymnop\u00e9dies, poses and figures at the limit of human performance, constantly immersed in varying spaces of light…\u201d<\/p>\n<\/div><\/div><\/div>
Interview (it) \/ Castello-Cosentino - RAI3 Radio - Piazza Verdi 13\/03\/21<\/h2><\/a><\/div><\/div>\n\nMaya Giudici for RAI Radio 3 \/ PIAZZA VERDI interviews Castello and Cosentino on the “Economic Treaty<\/a>“.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>INFERNO – RAI Cultura | Arte e RAI Play TV<\/h1><\/div>Video TV documentation \/ INFERNO by Roberto Castello (2021 IT)<\/h4><\/div>In Western culture Hell is the place of the imagination that one which more than any other has offered inspiration to preachers, illustrators, painters, sculptors, storytellers, directors, musicians. It is the place of atonement for moral and material faults where the wicked are punished and good triumphs over evil. It is the place of subversion and chaos in the representation of which everything can coexist. However, a depiction of evil as the undisputed kingdom of a sulphurous devil with a tail, horns and pitchfork would be hardly credible today. Hell is here, and it may look a lot like Heaven. It is what pushes us to make every effort to be more attractive, more intelligent, more powerful, more just, stronger, smarter, more responsible, more humble, which pushes us to compete for moral, social, economic and emotional gratifications. Hell is the inevitability of desire, the condemnation of perpetual competition in search of pleasure.
\nHence the idea of a tragedy in the form of comedy \u2013 seductive, pleasant, engaging, bright and fun \u2013 on the intrusiveness of the ego; both one\u2019s own and others\u2019.<\/p>\n<\/div>
https:\/\/www.raicultura.it\/arte\/eventi\/Inferno<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div>![\"Inferno](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2022\/01\/Inferno-Arte-Rai-Cultura.png\")
<\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>DOSSIER SHOWS \/ REVIEW (IT-EN)<\/h1><\/div>download \/ PDF<\/h4><\/div>ALDES_CASTELLO-REPERTORY_(en).pdf<\/h2><\/a><\/div><\/div><\/div>INFERNO-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div>IN-GIRUM-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div>![\"copertina](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2022\/05\/copertina-dossier-PRODUZIONI-2022-05.jpg\")
<\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>NEL MIGLIORE DEI MONDI POSSIBILI<\/h1><\/div>intorno all’opera di Roberto Castello<\/h4><\/div>
Carlo Lei (IL SESSO DEGLI ANGELI) - KLP - 04\/02\/2025<\/h2><\/a><\/div><\/div>\n\n\u201cIlenia Romano and Erica Bravini are among today\u2019s most amazing dancers. (…)
\nBoth boast a technical quality that goes beyond mere virtuosity and continues to make them the perfect dancers for that personal, evocative, crackling, demanding \u201ctheatre of dance\u201d (V. Valentini) that Roberto Castello has been bringing to the stage for thirty years.
\nHe uses a corporeal lexicon made up of the lightning-fast and unmediated presence of gesture, both when it expresses itself internally in a discourse and when it requires, as often happens, a change of subject and level of communication. A language that is continuously imbued with things, at the same time far from all abstraction and crass mimicry, in which glances are no less important than steps (…) and which, starting from rigorously danced elements, opens up to the most tingling manifestations of a world as elusive as ours, confirming dance\u2019s role as a discourse on the present…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Elisa Vaccarino (INFERNO) - BALLET2000 ed. English n290 - 2022<\/h2><\/a><\/div><\/div>\n\n“…Castello proves himself unwavering in his belief, consistently sarcastic and anarchical and abetted by an excellent group of four female and two bearded and long-haired male dancers, each possessing his or her own particular character and physicality, alongside a mistress of ceremonies, Alessandra Moretti, expressing herself in a discourse on art in pseudo-Brazilian.
\n(…) Then it is time for the infernal \u2018truth\u2019, an extended dance, full of energy, a jubilant saraband of great virtuosity, deliberately excessive both in intensity and duration, like those who have literally been possessed by the Devil. Castello\u2019s fascination with the tradition of African movement, tackled in his previous Mbira, here brims over in breath-taking rhythmic mastery; the sounds are techno, jazz and folk…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Marie Gracia (INFERNO) - Classyk\u00eao - 13\/06\/2023<\/h2><\/a><\/div><\/div>\n\nSoir\u00e9e d\u2019enfer au Th\u00e9\u00e2tre de la Ville ! – “…Inferno<\/em> est une \u00ab pi\u00e8ce \u00e9puisante \u00bb et le \u00ab rythme est infernal \u00bb comme son nom l\u2019indique. (…) ils sont infatigables. Et en plus ils sont s\u00e9duisants et d\u00e9gagent un sex-appeal incontestable, car Inferno<\/em> c\u2019est avant tout un jeu de s\u00e9duction.
\n(…) Nous avons donc assist\u00e9 \u00e0 une danse des \u00e9gos color\u00e9e et divertissante mais surtout \u00ab emplie de joie de vivre \u00bb avec des danseurs incroyables.”<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>Isabel Steinb\u00f6ck (INFERNO) - Westf\u00e4lische Nachrichten - 05\/03\/2023<\/h2><\/a><\/div><\/div>\n\n“…Castello geht es um Selbst- und Fremdoptimierung, um die H\u00f6lle im Allt\u00e4glichen. Dass er dabei auf Wiederholung setzt, bringt das sprichw\u00f6rtlich qu\u00e4lende \u201eHamsterrad\u201c zum Ausdruck, zur Perfektion getrieben, wird sein \u201eInferno\u201c dagegen zum Vergn\u00fcgen. Allzu gern sieht man diesen energiegeladenen Bewegungsk\u00fcnstlern zu, wenn ihnen die Elektro-Beats wie Stromst\u00f6\u00dfe durch die Glieder fahren. Eine wabernde Masse, die den Sound gekonnt in Tanz \u00fcbersetzt, und das ist auch gut so, schlie\u00dflich geh\u00f6rt es zur Profession, dass sich Tanzk\u00fcnstler bis an die Spitze treiben. Gro\u00dfer Applaus des Publikums im Pumpenhaus.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Gianfranco Capitta (INFERNO) - il manifesto - 20\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…the choreography is aggressive and captivating, evolving from some poses of apathetic dullness into aggressive visions and pure pleasure (the physical difficulty is as evident as effective). This Inferno almost becomes a choice of lifestyle, vitality and pleasure.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Lucia Medri (INFERNO) HYSTRIO gen.'22 - Teatro e Critica - 10\/12\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…feverish, attractive and playful… (…) …their clean movements, the balanced emphasis of expressiveness, the profanity of posture and the grotesque smirk, amount to an hourly performance which is an irresistible danced pun…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Andrea Porcheddu (NEL MIGLIORE DEI MONDI POSSIBILI and INFERNO) - Gli Stati Generali - 14\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…a shining and forcefully happy slaying race..\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Carlo Lei (INFERNO) - KLP Teatro - 09\/12\/2021<\/h2><\/a><\/div><\/div>\n\u201c…an explosive work, arrogant in the increase and virtuosity of danced gestures and yet contextually clear…\u201d<\/p>\n<\/div><\/div><\/div>
Simona Cappellini (RE_PLAY) - KLP Teatro - 01\/10\/2021<\/h2><\/a><\/div><\/div>\n\n“…The performance is filled with irony, a characteristic that naturally belongs to Giselda, although the presence of \u201cdisturbing\u201d elements help unravel the most unconscious part of the memory\u00a0\u2026\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
<\/div><\/div>Christian Raimo (IN GIRUM...) \u2013 INTERNAZIONALE - 25 October 2015<\/h2><\/a><\/div><\/div>\n\n\u201c… In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. (\u2026) If I need to conclude with two examples to represent everything I would take them from dancing.
\nOne of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour - The Theatre Times - 08\/2021<\/h2><\/a><\/div><\/div>\n\nWritten by Ariadne Mikou | 6th Aug 2021 | Interview, Italy, Theatre and Dance.
\nDuring the second edition of the artist-led Mercurio Festival in Palermo, the Italian choreographer Roberto Castello was invited to give a workshop and share his long-standing physical and movement experience with professional dancers, performers and actors. Considered as one of the pioneers that shaped the Italian contemporary dance scene, he is self-claiming to be the most politically engaged director and choreographer of his generation. Alone this statement is a strong invitation to explore the reasons behind this claim and it inevitably guided our discussion towards unraveling the political aspects of his work…<\/p>\n<\/div>\n<\/div><\/div><\/div>
Rodolfo Di Giammarco (IN GIRUM...) - La REPUBBLICA - 20 September 2015<\/h2><\/a><\/div><\/div>\n\u201c… a masterpiece of dance that studies the human body in the grip of hysteria, hypnosis and abuse with touching dynamics. […] this brilliant creation by Roberto Castello is a collection of postures by four performers who continuously find themselves in gymnop\u00e9dies, poses and figures at the limit of human performance, constantly immersed in varying spaces of light…\u201d<\/p>\n<\/div><\/div><\/div>
Interview (it) \/ Castello-Cosentino - RAI3 Radio - Piazza Verdi 13\/03\/21<\/h2><\/a><\/div><\/div>\n\nMaya Giudici for RAI Radio 3 \/ PIAZZA VERDI interviews Castello and Cosentino on the “Economic Treaty<\/a>“.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>INFERNO – RAI Cultura | Arte e RAI Play TV<\/h1><\/div>Video TV documentation \/ INFERNO by Roberto Castello (2021 IT)<\/h4><\/div>In Western culture Hell is the place of the imagination that one which more than any other has offered inspiration to preachers, illustrators, painters, sculptors, storytellers, directors, musicians. It is the place of atonement for moral and material faults where the wicked are punished and good triumphs over evil. It is the place of subversion and chaos in the representation of which everything can coexist. However, a depiction of evil as the undisputed kingdom of a sulphurous devil with a tail, horns and pitchfork would be hardly credible today. Hell is here, and it may look a lot like Heaven. It is what pushes us to make every effort to be more attractive, more intelligent, more powerful, more just, stronger, smarter, more responsible, more humble, which pushes us to compete for moral, social, economic and emotional gratifications. Hell is the inevitability of desire, the condemnation of perpetual competition in search of pleasure.
\nHence the idea of a tragedy in the form of comedy \u2013 seductive, pleasant, engaging, bright and fun \u2013 on the intrusiveness of the ego; both one\u2019s own and others\u2019.<\/p>\n<\/div>
https:\/\/www.raicultura.it\/arte\/eventi\/Inferno<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>DOSSIER SHOWS \/ REVIEW (IT-EN)<\/h1><\/div>download \/ PDF<\/h4><\/div>ALDES_CASTELLO-REPERTORY_(en).pdf<\/h2><\/a><\/div><\/div><\/div>INFERNO-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div>IN-GIRUM-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>NEL MIGLIORE DEI MONDI POSSIBILI<\/h1><\/div>intorno all’opera di Roberto Castello<\/h4><\/div>
\u201cIlenia Romano and Erica Bravini are among today\u2019s most amazing dancers. (…)
\nBoth boast a technical quality that goes beyond mere virtuosity and continues to make them the perfect dancers for that personal, evocative, crackling, demanding \u201ctheatre of dance\u201d (V. Valentini) that Roberto Castello has been bringing to the stage for thirty years.
\nHe uses a corporeal lexicon made up of the lightning-fast and unmediated presence of gesture, both when it expresses itself internally in a discourse and when it requires, as often happens, a change of subject and level of communication. A language that is continuously imbued with things, at the same time far from all abstraction and crass mimicry, in which glances are no less important than steps (…) and which, starting from rigorously danced elements, opens up to the most tingling manifestations of a world as elusive as ours, confirming dance\u2019s role as a discourse on the present…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Elisa Vaccarino (INFERNO) - BALLET2000 ed. English n290 - 2022<\/h2><\/a><\/div><\/div>\n\n“…Castello proves himself unwavering in his belief, consistently sarcastic and anarchical and abetted by an excellent group of four female and two bearded and long-haired male dancers, each possessing his or her own particular character and physicality, alongside a mistress of ceremonies, Alessandra Moretti, expressing herself in a discourse on art in pseudo-Brazilian.
\n(…) Then it is time for the infernal \u2018truth\u2019, an extended dance, full of energy, a jubilant saraband of great virtuosity, deliberately excessive both in intensity and duration, like those who have literally been possessed by the Devil. Castello\u2019s fascination with the tradition of African movement, tackled in his previous Mbira, here brims over in breath-taking rhythmic mastery; the sounds are techno, jazz and folk…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Marie Gracia (INFERNO) - Classyk\u00eao - 13\/06\/2023<\/h2><\/a><\/div><\/div>\n\nSoir\u00e9e d\u2019enfer au Th\u00e9\u00e2tre de la Ville ! – “…Inferno<\/em> est une \u00ab pi\u00e8ce \u00e9puisante \u00bb et le \u00ab rythme est infernal \u00bb comme son nom l\u2019indique. (…) ils sont infatigables. Et en plus ils sont s\u00e9duisants et d\u00e9gagent un sex-appeal incontestable, car Inferno<\/em> c\u2019est avant tout un jeu de s\u00e9duction.
\n(…) Nous avons donc assist\u00e9 \u00e0 une danse des \u00e9gos color\u00e9e et divertissante mais surtout \u00ab emplie de joie de vivre \u00bb avec des danseurs incroyables.”<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>Isabel Steinb\u00f6ck (INFERNO) - Westf\u00e4lische Nachrichten - 05\/03\/2023<\/h2><\/a><\/div><\/div>\n\n“…Castello geht es um Selbst- und Fremdoptimierung, um die H\u00f6lle im Allt\u00e4glichen. Dass er dabei auf Wiederholung setzt, bringt das sprichw\u00f6rtlich qu\u00e4lende \u201eHamsterrad\u201c zum Ausdruck, zur Perfektion getrieben, wird sein \u201eInferno\u201c dagegen zum Vergn\u00fcgen. Allzu gern sieht man diesen energiegeladenen Bewegungsk\u00fcnstlern zu, wenn ihnen die Elektro-Beats wie Stromst\u00f6\u00dfe durch die Glieder fahren. Eine wabernde Masse, die den Sound gekonnt in Tanz \u00fcbersetzt, und das ist auch gut so, schlie\u00dflich geh\u00f6rt es zur Profession, dass sich Tanzk\u00fcnstler bis an die Spitze treiben. Gro\u00dfer Applaus des Publikums im Pumpenhaus.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Gianfranco Capitta (INFERNO) - il manifesto - 20\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…the choreography is aggressive and captivating, evolving from some poses of apathetic dullness into aggressive visions and pure pleasure (the physical difficulty is as evident as effective). This Inferno almost becomes a choice of lifestyle, vitality and pleasure.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Lucia Medri (INFERNO) HYSTRIO gen.'22 - Teatro e Critica - 10\/12\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…feverish, attractive and playful… (…) …their clean movements, the balanced emphasis of expressiveness, the profanity of posture and the grotesque smirk, amount to an hourly performance which is an irresistible danced pun…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Andrea Porcheddu (NEL MIGLIORE DEI MONDI POSSIBILI and INFERNO) - Gli Stati Generali - 14\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…a shining and forcefully happy slaying race..\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Carlo Lei (INFERNO) - KLP Teatro - 09\/12\/2021<\/h2><\/a><\/div><\/div>\n\u201c…an explosive work, arrogant in the increase and virtuosity of danced gestures and yet contextually clear…\u201d<\/p>\n<\/div><\/div><\/div>
Simona Cappellini (RE_PLAY) - KLP Teatro - 01\/10\/2021<\/h2><\/a><\/div><\/div>\n\n“…The performance is filled with irony, a characteristic that naturally belongs to Giselda, although the presence of \u201cdisturbing\u201d elements help unravel the most unconscious part of the memory\u00a0\u2026\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
<\/div><\/div>Christian Raimo (IN GIRUM...) \u2013 INTERNAZIONALE - 25 October 2015<\/h2><\/a><\/div><\/div>\n\n\u201c… In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. (\u2026) If I need to conclude with two examples to represent everything I would take them from dancing.
\nOne of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour - The Theatre Times - 08\/2021<\/h2><\/a><\/div><\/div>\n\nWritten by Ariadne Mikou | 6th Aug 2021 | Interview, Italy, Theatre and Dance.
\nDuring the second edition of the artist-led Mercurio Festival in Palermo, the Italian choreographer Roberto Castello was invited to give a workshop and share his long-standing physical and movement experience with professional dancers, performers and actors. Considered as one of the pioneers that shaped the Italian contemporary dance scene, he is self-claiming to be the most politically engaged director and choreographer of his generation. Alone this statement is a strong invitation to explore the reasons behind this claim and it inevitably guided our discussion towards unraveling the political aspects of his work…<\/p>\n<\/div>\n<\/div><\/div><\/div>
Rodolfo Di Giammarco (IN GIRUM...) - La REPUBBLICA - 20 September 2015<\/h2><\/a><\/div><\/div>\n\u201c… a masterpiece of dance that studies the human body in the grip of hysteria, hypnosis and abuse with touching dynamics. […] this brilliant creation by Roberto Castello is a collection of postures by four performers who continuously find themselves in gymnop\u00e9dies, poses and figures at the limit of human performance, constantly immersed in varying spaces of light…\u201d<\/p>\n<\/div><\/div><\/div>
Interview (it) \/ Castello-Cosentino - RAI3 Radio - Piazza Verdi 13\/03\/21<\/h2><\/a><\/div><\/div>\n\nMaya Giudici for RAI Radio 3 \/ PIAZZA VERDI interviews Castello and Cosentino on the “Economic Treaty<\/a>“.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>INFERNO – RAI Cultura | Arte e RAI Play TV<\/h1><\/div>Video TV documentation \/ INFERNO by Roberto Castello (2021 IT)<\/h4><\/div>In Western culture Hell is the place of the imagination that one which more than any other has offered inspiration to preachers, illustrators, painters, sculptors, storytellers, directors, musicians. It is the place of atonement for moral and material faults where the wicked are punished and good triumphs over evil. It is the place of subversion and chaos in the representation of which everything can coexist. However, a depiction of evil as the undisputed kingdom of a sulphurous devil with a tail, horns and pitchfork would be hardly credible today. Hell is here, and it may look a lot like Heaven. It is what pushes us to make every effort to be more attractive, more intelligent, more powerful, more just, stronger, smarter, more responsible, more humble, which pushes us to compete for moral, social, economic and emotional gratifications. Hell is the inevitability of desire, the condemnation of perpetual competition in search of pleasure.
\nHence the idea of a tragedy in the form of comedy \u2013 seductive, pleasant, engaging, bright and fun \u2013 on the intrusiveness of the ego; both one\u2019s own and others\u2019.<\/p>\n<\/div>
https:\/\/www.raicultura.it\/arte\/eventi\/Inferno<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>DOSSIER SHOWS \/ REVIEW (IT-EN)<\/h1><\/div>download \/ PDF<\/h4><\/div>ALDES_CASTELLO-REPERTORY_(en).pdf<\/h2><\/a><\/div><\/div><\/div>INFERNO-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div>IN-GIRUM-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>NEL MIGLIORE DEI MONDI POSSIBILI<\/h1><\/div>intorno all’opera di Roberto Castello<\/h4><\/div>
“…Castello proves himself unwavering in his belief, consistently sarcastic and anarchical and abetted by an excellent group of four female and two bearded and long-haired male dancers, each possessing his or her own particular character and physicality, alongside a mistress of ceremonies, Alessandra Moretti, expressing herself in a discourse on art in pseudo-Brazilian.
\n(…) Then it is time for the infernal \u2018truth\u2019, an extended dance, full of energy, a jubilant saraband of great virtuosity, deliberately excessive both in intensity and duration, like those who have literally been possessed by the Devil. Castello\u2019s fascination with the tradition of African movement, tackled in his previous Mbira, here brims over in breath-taking rhythmic mastery; the sounds are techno, jazz and folk…”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Marie Gracia (INFERNO) - Classyk\u00eao - 13\/06\/2023<\/h2><\/a><\/div><\/div>\n\nSoir\u00e9e d\u2019enfer au Th\u00e9\u00e2tre de la Ville ! – “…Inferno<\/em> est une \u00ab pi\u00e8ce \u00e9puisante \u00bb et le \u00ab rythme est infernal \u00bb comme son nom l\u2019indique. (…) ils sont infatigables. Et en plus ils sont s\u00e9duisants et d\u00e9gagent un sex-appeal incontestable, car Inferno<\/em> c\u2019est avant tout un jeu de s\u00e9duction.
\n(…) Nous avons donc assist\u00e9 \u00e0 une danse des \u00e9gos color\u00e9e et divertissante mais surtout \u00ab emplie de joie de vivre \u00bb avec des danseurs incroyables.”<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>Isabel Steinb\u00f6ck (INFERNO) - Westf\u00e4lische Nachrichten - 05\/03\/2023<\/h2><\/a><\/div><\/div>\n\n“…Castello geht es um Selbst- und Fremdoptimierung, um die H\u00f6lle im Allt\u00e4glichen. Dass er dabei auf Wiederholung setzt, bringt das sprichw\u00f6rtlich qu\u00e4lende \u201eHamsterrad\u201c zum Ausdruck, zur Perfektion getrieben, wird sein \u201eInferno\u201c dagegen zum Vergn\u00fcgen. Allzu gern sieht man diesen energiegeladenen Bewegungsk\u00fcnstlern zu, wenn ihnen die Elektro-Beats wie Stromst\u00f6\u00dfe durch die Glieder fahren. Eine wabernde Masse, die den Sound gekonnt in Tanz \u00fcbersetzt, und das ist auch gut so, schlie\u00dflich geh\u00f6rt es zur Profession, dass sich Tanzk\u00fcnstler bis an die Spitze treiben. Gro\u00dfer Applaus des Publikums im Pumpenhaus.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Gianfranco Capitta (INFERNO) - il manifesto - 20\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…the choreography is aggressive and captivating, evolving from some poses of apathetic dullness into aggressive visions and pure pleasure (the physical difficulty is as evident as effective). This Inferno almost becomes a choice of lifestyle, vitality and pleasure.”<\/p>\n<\/div>\n<\/div><\/div><\/div>
Lucia Medri (INFERNO) HYSTRIO gen.'22 - Teatro e Critica - 10\/12\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…feverish, attractive and playful… (…) …their clean movements, the balanced emphasis of expressiveness, the profanity of posture and the grotesque smirk, amount to an hourly performance which is an irresistible danced pun…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Andrea Porcheddu (NEL MIGLIORE DEI MONDI POSSIBILI and INFERNO) - Gli Stati Generali - 14\/11\/21<\/h2><\/a><\/div><\/div>\n\n\u201c…a shining and forcefully happy slaying race..\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Carlo Lei (INFERNO) - KLP Teatro - 09\/12\/2021<\/h2><\/a><\/div><\/div>\n\u201c…an explosive work, arrogant in the increase and virtuosity of danced gestures and yet contextually clear…\u201d<\/p>\n<\/div><\/div><\/div>
Simona Cappellini (RE_PLAY) - KLP Teatro - 01\/10\/2021<\/h2><\/a><\/div><\/div>\n\n“…The performance is filled with irony, a characteristic that naturally belongs to Giselda, although the presence of \u201cdisturbing\u201d elements help unravel the most unconscious part of the memory\u00a0\u2026\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
<\/div><\/div>Christian Raimo (IN GIRUM...) \u2013 INTERNAZIONALE - 25 October 2015<\/h2><\/a><\/div><\/div>\n\n\u201c… In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. (\u2026) If I need to conclude with two examples to represent everything I would take them from dancing.
\nOne of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>
Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour - The Theatre Times - 08\/2021<\/h2><\/a><\/div><\/div>\n\nWritten by Ariadne Mikou | 6th Aug 2021 | Interview, Italy, Theatre and Dance.
\nDuring the second edition of the artist-led Mercurio Festival in Palermo, the Italian choreographer Roberto Castello was invited to give a workshop and share his long-standing physical and movement experience with professional dancers, performers and actors. Considered as one of the pioneers that shaped the Italian contemporary dance scene, he is self-claiming to be the most politically engaged director and choreographer of his generation. Alone this statement is a strong invitation to explore the reasons behind this claim and it inevitably guided our discussion towards unraveling the political aspects of his work…<\/p>\n<\/div>\n<\/div><\/div><\/div>
Rodolfo Di Giammarco (IN GIRUM...) - La REPUBBLICA - 20 September 2015<\/h2><\/a><\/div><\/div>\n\u201c… a masterpiece of dance that studies the human body in the grip of hysteria, hypnosis and abuse with touching dynamics. […] this brilliant creation by Roberto Castello is a collection of postures by four performers who continuously find themselves in gymnop\u00e9dies, poses and figures at the limit of human performance, constantly immersed in varying spaces of light…\u201d<\/p>\n<\/div><\/div><\/div>
Interview (it) \/ Castello-Cosentino - RAI3 Radio - Piazza Verdi 13\/03\/21<\/h2><\/a><\/div><\/div>\n\nMaya Giudici for RAI Radio 3 \/ PIAZZA VERDI interviews Castello and Cosentino on the “Economic Treaty<\/a>“.<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>INFERNO – RAI Cultura | Arte e RAI Play TV<\/h1><\/div>Video TV documentation \/ INFERNO by Roberto Castello (2021 IT)<\/h4><\/div>In Western culture Hell is the place of the imagination that one which more than any other has offered inspiration to preachers, illustrators, painters, sculptors, storytellers, directors, musicians. It is the place of atonement for moral and material faults where the wicked are punished and good triumphs over evil. It is the place of subversion and chaos in the representation of which everything can coexist. However, a depiction of evil as the undisputed kingdom of a sulphurous devil with a tail, horns and pitchfork would be hardly credible today. Hell is here, and it may look a lot like Heaven. It is what pushes us to make every effort to be more attractive, more intelligent, more powerful, more just, stronger, smarter, more responsible, more humble, which pushes us to compete for moral, social, economic and emotional gratifications. Hell is the inevitability of desire, the condemnation of perpetual competition in search of pleasure.
\nHence the idea of a tragedy in the form of comedy \u2013 seductive, pleasant, engaging, bright and fun \u2013 on the intrusiveness of the ego; both one\u2019s own and others\u2019.<\/p>\n<\/div>
https:\/\/www.raicultura.it\/arte\/eventi\/Inferno<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/a><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>DOSSIER SHOWS \/ REVIEW (IT-EN)<\/h1><\/div>download \/ PDF<\/h4><\/div>ALDES_CASTELLO-REPERTORY_(en).pdf<\/h2><\/a><\/div><\/div><\/div>INFERNO-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div>IN-GIRUM-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/span><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>NEL MIGLIORE DEI MONDI POSSIBILI<\/h1><\/div>intorno all’opera di Roberto Castello<\/h4><\/div>
Soir\u00e9e d\u2019enfer au Th\u00e9\u00e2tre de la Ville ! – “…Inferno<\/em> est une \u00ab pi\u00e8ce \u00e9puisante \u00bb et le \u00ab rythme est infernal \u00bb comme son nom l\u2019indique. (…) ils sont infatigables. Et en plus ils sont s\u00e9duisants et d\u00e9gagent un sex-appeal incontestable, car Inferno<\/em> c\u2019est avant tout un jeu de s\u00e9duction. “…Castello geht es um Selbst- und Fremdoptimierung, um die H\u00f6lle im Allt\u00e4glichen. Dass er dabei auf Wiederholung setzt, bringt das sprichw\u00f6rtlich qu\u00e4lende \u201eHamsterrad\u201c zum Ausdruck, zur Perfektion getrieben, wird sein \u201eInferno\u201c dagegen zum Vergn\u00fcgen. Allzu gern sieht man diesen energiegeladenen Bewegungsk\u00fcnstlern zu, wenn ihnen die Elektro-Beats wie Stromst\u00f6\u00dfe durch die Glieder fahren. Eine wabernde Masse, die den Sound gekonnt in Tanz \u00fcbersetzt, und das ist auch gut so, schlie\u00dflich geh\u00f6rt es zur Profession, dass sich Tanzk\u00fcnstler bis an die Spitze treiben. Gro\u00dfer Applaus des Publikums im Pumpenhaus.”<\/p>\n<\/div>\n<\/div><\/div><\/div> \u201c…the choreography is aggressive and captivating, evolving from some poses of apathetic dullness into aggressive visions and pure pleasure (the physical difficulty is as evident as effective). This Inferno almost becomes a choice of lifestyle, vitality and pleasure.”<\/p>\n<\/div>\n<\/div><\/div><\/div> \u201c…feverish, attractive and playful… (…) …their clean movements, the balanced emphasis of expressiveness, the profanity of posture and the grotesque smirk, amount to an hourly performance which is an irresistible danced pun…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div> \u201c…a shining and forcefully happy slaying race..\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div> \u201c…an explosive work, arrogant in the increase and virtuosity of danced gestures and yet contextually clear…\u201d<\/p>\n<\/div><\/div><\/div> “…The performance is filled with irony, a characteristic that naturally belongs to Giselda, although the presence of \u201cdisturbing\u201d elements help unravel the most unconscious part of the memory\u00a0\u2026\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div> \u201c… In both [France and Belgium] however, since the eighties it was decided to invest millions of Euros in contemporary theatre, and now finally we can see the fruits of this labour that created a European theatre, and we can see huge productions worldwide: Teresa De Keersmacher and Jan Fabre, who we have just greeted at the Romaeuropa Festival. (\u2026) If I need to conclude with two examples to represent everything I would take them from dancing. Written by Ariadne Mikou | 6th Aug 2021 | Interview, Italy, Theatre and Dance. \u201c… a masterpiece of dance that studies the human body in the grip of hysteria, hypnosis and abuse with touching dynamics. […] this brilliant creation by Roberto Castello is a collection of postures by four performers who continuously find themselves in gymnop\u00e9dies, poses and figures at the limit of human performance, constantly immersed in varying spaces of light…\u201d<\/p>\n<\/div><\/div><\/div> Maya Giudici for RAI Radio 3 \/ PIAZZA VERDI interviews Castello and Cosentino on the “Economic Treaty<\/a>“.<\/p>\n<\/div>\n<\/div><\/div><\/div> In Western culture Hell is the place of the imagination that one which more than any other has offered inspiration to preachers, illustrators, painters, sculptors, storytellers, directors, musicians. It is the place of atonement for moral and material faults where the wicked are punished and good triumphs over evil. It is the place of subversion and chaos in the representation of which everything can coexist. However, a depiction of evil as the undisputed kingdom of a sulphurous devil with a tail, horns and pitchfork would be hardly credible today. Hell is here, and it may look a lot like Heaven. It is what pushes us to make every effort to be more attractive, more intelligent, more powerful, more just, stronger, smarter, more responsible, more humble, which pushes us to compete for moral, social, economic and emotional gratifications. Hell is the inevitability of desire, the condemnation of perpetual competition in search of pleasure.
\n(…) Nous avons donc assist\u00e9 \u00e0 une danse des \u00e9gos color\u00e9e et divertissante mais surtout \u00ab emplie de joie de vivre \u00bb avec des danseurs incroyables.”<\/p>\n<\/div>\n<\/div><\/div><\/div>Isabel Steinb\u00f6ck (INFERNO) - Westf\u00e4lische Nachrichten - 05\/03\/2023<\/h2><\/a><\/div>
Gianfranco Capitta (INFERNO) - il manifesto - 20\/11\/21<\/h2><\/a><\/div>
Lucia Medri (INFERNO) HYSTRIO gen.'22 - Teatro e Critica - 10\/12\/21<\/h2><\/a><\/div>
Andrea Porcheddu (NEL MIGLIORE DEI MONDI POSSIBILI and INFERNO) - Gli Stati Generali - 14\/11\/21<\/h2><\/a><\/div>
Carlo Lei (INFERNO) - KLP Teatro - 09\/12\/2021<\/h2><\/a><\/div>
Simona Cappellini (RE_PLAY) - KLP Teatro - 01\/10\/2021<\/h2><\/a><\/div>
Christian Raimo (IN GIRUM...) \u2013 INTERNAZIONALE - 25 October 2015<\/h2><\/a><\/div>
\nOne of these examples is Roberto Castello: his company is one of the excellences among European dancing. His show in 1985 – an Ubu Award – Il cortile, produced with Sosta Palmizi, is justly considered seminal in the history of Italian choreography of the last thirty years, and his last show, In girum imus nocte (et consumimur igni), is no less beautiful…\u201d<\/p>\n<\/div>\n<\/div><\/div><\/div>Italian Choreographer Roberto Castello on Dance, Politics and Dance as Labour - The Theatre Times - 08\/2021<\/h2><\/a><\/div>
\nDuring the second edition of the artist-led Mercurio Festival in Palermo, the Italian choreographer Roberto Castello was invited to give a workshop and share his long-standing physical and movement experience with professional dancers, performers and actors. Considered as one of the pioneers that shaped the Italian contemporary dance scene, he is self-claiming to be the most politically engaged director and choreographer of his generation. Alone this statement is a strong invitation to explore the reasons behind this claim and it inevitably guided our discussion towards unraveling the political aspects of his work…<\/p>\n<\/div>\n<\/div><\/div><\/div>Rodolfo Di Giammarco (IN GIRUM...) - La REPUBBLICA - 20 September 2015<\/h2><\/a><\/div>
Interview (it) \/ Castello-Cosentino - RAI3 Radio - Piazza Verdi 13\/03\/21<\/h2><\/a><\/div>
INFERNO – RAI Cultura | Arte e RAI Play TV<\/h1><\/div>
Video TV documentation \/ INFERNO by Roberto Castello (2021 IT)<\/h4><\/div>
\nHence the idea of a tragedy in the form of comedy \u2013 seductive, pleasant, engaging, bright and fun \u2013 on the intrusiveness of the ego; both one\u2019s own and others\u2019.<\/p>\n<\/div>https:\/\/www.raicultura.it\/arte\/eventi\/Inferno<\/h2><\/a><\/div><\/div><\/div>
<\/a><\/span><\/div><\/div><\/div>DOSSIER SHOWS \/ REVIEW (IT-EN)<\/h1><\/div>
download \/ PDF<\/h4><\/div>
ALDES_CASTELLO-REPERTORY_(en).pdf<\/h2><\/a><\/div><\/div><\/div>
INFERNO-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div>
IN-GIRUM-DOSSIER_en.pdf<\/h2><\/a><\/div><\/div><\/div>
<\/span><\/div><\/div><\/div>NEL MIGLIORE DEI MONDI POSSIBILI<\/h1><\/div>
intorno all’opera di Roberto Castello<\/h4><\/div>
![\"Copertina](\"https:\/\/www.aldesweb.org\/wp-content\/uploads\/2022\/01\/Nel-migliore-dei-mondi-possibili_grafica_A-Moretti.jpg\")
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