„Oedipus Rex” by Sophocles, directed by DANIELE SALVO

„The stage occupied the usual sandy circle in the middle of the amphitheatre, but just off-center in the playing area stood the enormous head of a classic-looking Greek sculpture. This visual image of the play’s cultural context served sometimes as a skene, representing the palace of Thebes, with actors entering and emerging from the side or the top; it also provided extensions of the chorus’ playing area, as it was bracketed by ladders that could elevate a speaker. During the messenger’s description of the offstage blinding of Oedipus, the eyes of the sculpture dripped red blood. This literalizing of a narrated action was a hallmark of the show, as the director repeatedly took offstage actions, antecedent events, or eventual consequences and made them physically present.

Spectators saw this process of literalization from the moment of entering the theatre. The playing space in front of the sculptural head was littered with dead animals and shrouded bodies, a reminder that the play begins with the people of Thebes suffering terribly from plague and famine. Before any of the speaking characters appeared, a group of slow-moving actors, clad in black rags, crawled across the stage, lamenting their losses in wordless, heart-wrenching moans. The opening speeches of the play were thus enacted before they happened, a visual rendition of the sorrows and fears that the chorus leader would soon enumerate for Oedipus. We attendees became viscerally aware of the despair in the kingdom before a word was spoken.

Ph: Franca Centaro

The chorus was often a key component of this visually amplified emotion. Clad in black cassocks, their heads bald and their facial features rendered indistinguishable, they frequently enacted the dire situations of the kingdom and the people. One notable moment came during the choral ode regarding the blindness of mere mortals to the consequences of their actions. As Oedipus and his family retreated inside the palace to contemplate the horrific reality gradually dawning on them, the chorus members donned white blindfolds and stumbled across the stage, whirling sightlessly in circles. We know that the choral odes in ancient performances most likely involved dance as well as chanting, but this beautifully choreographed ballet of blindman’s bluff suggested the whirlwind of emotions buffeting the hapless characters. The expressive power of this scene was further enhanced when the messenger entered from the palace to recount the blinding of Oedipus. In front of the bleeding sculptural head, the actor playing the messenger groveled on the ground during the speech, screaming as he enacted on his own body the dreadful blinding he had just witnessed, thereby bringing the Greeks’ well-established offstage violence onto center stage. His voice and actions were amplified by another choral “dance” as the chorus members wheeled and recoiled in shock and revulsion.

7b38f0b862855559c18ca7c61dd837c2The single most powerful dramatic innovation, however, was the director’s addition of a new character, called in the playbill “Spettro della Sfinge” (Specter of the Sphinx). Played by Melania Giglio, this female figure with a winged leather cape and long dreadlocks opened the play by rising from the top of the Greek head, shrieking wordlessly, spreading her wings and startlingly red hands. Given that all the characters were clad entirely in black, her red palms seemed to shriek along with her, prefiguring the blood on Oedipus in the final scenes and the red stains that would appear on the sculpture.

In this opening segment she indeed did seem to be a Sphinx figure, and I thought at first that the director had chosen to present some of the backstory in which Oedipus had solved the Sphinx’s riddle and won the crown of Thebes. However, after this entrance, she disappeared, returning later masked in brilliant white—another startling shift in color—as the boy who led in the blind Tiresias. From this point on, the figure (now unmasked and uncaped, clad in black leather) shadowed Oedipus, dancing menacingly around him, accompanied by her own chorus of similarly black-clad, faceless, stringy-haired dancers. These fury-like figures, stalking Oedipus’s every move and clearly representing his unavoidable, horrible fate, were visible to the audience at all times though unnoticed by the characters, thus providing a new visual twist on dramatic irony.


At the end of the play, when the action had concluded and blind Oedipus was led away, the Spettro della Sfinge returned at the top of the stage, wings fully spread, shrieking a climactic “song.”

Here, she seemed to have morphed from Sphinx, to fury/fate, to deus ex machina; this “god,” however, descended not to save someone, but rather to remind us all of the inevitability of fate and the repercussions of our actions.”

Patricia R. Schroeder
Ursinus College

„Coephoroi – Eumenides” by Aeschylus, directed by DANIELE SALVO, Syracuse 2014

 In  „Coephoroi” and „Eumenides” Daniele Salvo relies on paroxysmal, exasperated, vocal and physical expressiveness. At the beginning of the tragedy the Chorus of coephoroi accompany Electra (Francesca Ciocchetti) to the grave of her father, achieving a strong visual and emotional impact.

10341605_10204096419115476_2961090741935171028_nPhoto: Ana Afteni

The atmosphere is tense and solemn; the grief of Trojan slaves dressed in black garments and veils blends with the despair felt by the young daughter of Agamemnon in a riotous sound mixture, supported by the complex musical symphony created by Marco Podda: archaic echoes and classical tonalities in an amalgam that evokes a cinematic feel.

10456779_10204096485077125_4184210107820043445_nPhoto: Ana Afteni

Later, pursing the emotional peak which is the openly declared stylistic approach chosen for his staging, the director follows an ascending climax, up to the point of breaking one of the taboos of Greek theatre: murder taking place on stage. Orestes (Francesco Scianna) slaughters his mother (Elisabetta Pozzi) in front of the spectators.

10256576_883791768314108_7076431689384963910_nPhoto: Franca Centaro

The appearance of the Erinyes, dressed in a leotard that makes them look like colourful skeletons, adds more fuel to the wildfire of violence and fury.And so the play reaches its last act, in which Eumenides represents the founding of western justice as an overcoming of the archaic law of retaliation.”

10382983_918573638169254_3299845488225760016_nPhoto: Franca Centaro

The 50th Season of Classical Plays at Syracuse’s Greek Theatre:

Aeschylus’s Oresteia and Aristophanes’ Wasps

L Ciclo di Spettacoli Classici Teatro Greco di Siracusa Syracuse, Italy

Reviewed by Caterina Barone University of Padova



Daniele Salvo


   Daniele Salvo is an Italian director and actor.

   He graduated the National School of  Luca Ronconi in Turin in 1994 and perfected at the Royal Shakespeare Company in Stratford Upon Avon and at the Teatro di Roma.



   He worked for about 17 years with Luca Ronconi as his main collaborator director and as an actor in important roles.


   In the last fifteen years he directed many shows in Italy and abroad with great protagonists of the scene (Giorgio Albertazzi, Ugo Pagliai, Umberto Orsini, Elisabetta Pozzi, Zingaretti, Piera degli Esposti, Monica Guerritore, Gigi Proietti and many others) including “Ajax” and “Oedipus at Colonus” at the Greek Theatre in Syracuse (then tour in Athens, at the theater „to Skolion” directed by Irene Papas) “Oedipus Rex “(at the Greek Theatre in Syracuse), “The Libation Bearers –The Eumenides” of Aeschylus (staged last year for the Centenary of the Foundation Inda, at the Greek Theatre in Syracuse, then tour to Cyprus for the International Festival of Ancient Drama), “King Lear”, “Othello”, “The Tempest” (also at the Teatro Romano Verona), “Julius Caesar” at the Globe Theatre in Rome, “Eugene Onegin” Pushkin at the Teatro Stabile di Torino, “Mozart and Salieri” at Teatro Goldoni Venice, “Prague Spring” to the Prague National Theatre, “The Rope-walker” by Jean Genet at the International Festival of Naples, and many other shows .


   He has also directed two operas, one at the Teatro Verdi in Trieste and the other at the Teatro Massimo in Palermo.

   He was associated director in addition to Luca Ronconi, even for Jacques Lassalle (Goethe’s Iphigenia at the Teatro Olimpico in Vicenza), Jean Pierre Vincent (former director of the Comedie Francaise in Paris), Andrei Konchalovskij and Marco Tullio Giordana.

   He studies different vocal techniques since over 17 years and he teaches acting and directing in different institutions in Italy.



   At the Greek Theatre in Syracuse he directed „The Libation Bearers-The Eumenides” by Aeschylus for the Centenary of the Foundation INDA (National Institute of Ancient Drama). The cast included more than 100 actors (including Piera degli Esposti, Ugo Pagliai, Paola Gassman, Elisabetta Pozzi, Francesco Scianna). The show has had unprecedented success at the Greek Theatre in Syracuse (7,000 spectators every day for a record collection), at the Ancient Theatre of Pompeii and in Cyprus at the International Festival of Ancient Drama.

„Oedipus the King”, set up in Syracuse, holds the record of collection of one hundred years of the Foundation (EUR 1.7 million).


   „DIONYSUS” , his latest project, starting from the text of „The Bacchae” by Euripides, is a international coproduction, a performance made from two versions from the collaboration of two theatres: Vascello Theatre from Rome, Italy, and The State Theatre from Constanta, Romania.

   Many foreign visitors who have visited the Greek Theatre of Syracuse have complained about the impossibility of enjoying these performances

worldwide. This is the reason why Daniele Salvo has produced a version of the Bacchae of Euripides accessible to everyone, no matter his language or culture.

   It is a performance that arrives in the heart of the myth, through a contemporary show, exciting and incredibly actual.


„DIONYSUS – The God Born Twice” directed by DANIELE SALVO

A performance made from two versions from the collaboration of two theatres: Vascello Theatre from Rome, Italy, and The State Theatre from Constanta, Romania.



“The Bacchae opens a new window to irrational, to an antique world of a true expressive freedom, of a Dionysian possession, a reflection to the celestial meaning in our life and to the things that are eliminated daily from our lives. The antique world is a scream which came from another time, it is a call to meditation, to waking up the senses, it is the impulse to look inside us in other ways.

We abandon ourselves to the last remains of irrationality and physical presence only in erotic moments, in illness and during sleep.


DIONYSUS – DANIELE SALVO (The Greek Theatre of Taormina)


The Bacchae act in mental automatism, in perennial sleep, they are controlled by the God. Dionysus operates through them, through their bodies and voices, he transforms them in an instrument of delirium, of sensuality, of disorientation, of death, of infinite sweetness, of demonic ambiguity.

Our times push us to living in an anesthetized reality, a false world where emotions are put aside to make room to a sterile and distressing intellectualism.


The BACCHAE – The State Theatre from Constanta

We are blinded on daily basis by images from the mass media. The principles of the market don’t forgive anything, everything is on sale: dead bodies, social status, work places, weapons, sex, childhood, organs. We remain indifferent. The bourgeois dimension suffocates our best instincts, our sensibility (a bad word nowadays, considered to be almost scandalous), our sincerity, and eliminates every form of creativity from us. Our irrational dimension is completely destroyed. The sense of affirmation of the Self consumes our days. The art is emptied of spirituality. Mass media, occult provocateurs, they act to influence our hearts and minds, to tame even the most rebellious minds, sealing even the most vigilant eyes. Spiritual dimension is lost forever. The sense of tragic is unknown to us. Our body is annulled. We are transformed definitively into consumers and products at the same time. We are agitated by a media war without precedent in history. We think we are unique, peculiar, but actually we all think the same, use the same words, have the same demanding, same hopes, same anxieties, same ordinary series manufactured. We think we are free.


DIONISOS – MARIUS BODOCHI (The State Theatre from Constanta)

We still need to invoke Dionysus, the one who screams <<evoè>>,Protogonos, the one who was born three times, Bacchus, savage, mysterious, two horned, in two forms, covered in ivy, bull alike, martial, Evio, holy, eating raw meat, Trieterico, producing bunches of grapes, Eubuleo, full of edification, born from Zeus and Semele, the immortal daemon.


The BACCHAE –  Vascello Theatre


We decided to create a performance to research the deep meaning of Dionysos, tasting its pure essence, abandoning ourselves in the vortex of the Bacchae by Euripides, letting the god of irrational, the god of mystery, the god of theatre to hypnotize us.

The first question: where is Dionysus? Where is he hiding?

I have been studying the voice and the sound in all of its forms from almost 25 years now, collaborating with doctor Marco Podda, phoniatric doctor and composer.

This research goes from sophisticated phonetic techniques to analysing and reproducing ethnic songs from all over the world, to techniques of rehabilitation and re-educating the language, to studying the expressing of the sound in prenatal period, in birth and the first years of life; from analysing the sounds which are produced in sessions of regressive trance and in tribal dances to researching the effects of sound frequencies on human brain (psychoacoustics).

In Dionysos we worked with extreme, perturbing sounds, or not commonly used in everyday life, extremely full of meanings and hyperkinetic unusual vocalities. So we tried to use vocal means in unconventional ways, not necessarily for language (mostly in choirs).

But pay attention: this work on the sound doesn’t have a purpose by itself, it doesn’t intent to be demonstrative. On the contrary, it is hidden in its linguistic structure. I am thinking of an interpretation without bourgeois elements. The words of Euripides are deeply in the body and are hidden in the oldest <>.




The emotional states are mostly vocal and physical states. The choir acts in continuous trace, like the protagonists of the film “Heart of glass” by Werner Herzogh. The Bacchae doesn’t communicate only by language and its meanings, it communicates mostly through an antique vocality and a very powerful emotiveness. Here is the core of this whole work process – emotiveness. From my point of view, emotiveness is exactly the vehicle which permits realizing the tragic and the catharsis.

For a performer of Greek tragedy it is very important to get to a very high emotional temperature, to compromise his voice and body.

In my work, following the example of many European contemporary artists, I try to rebuild a possible way to an interpreting theatre, to a theatre of actors/interprets who know how to humbly approach a play, who can decode it, and who can research and rebuild the mechanisms of composing and writing this text, without overlapping free and immediate solutions and mostly not competing with the authors.

All that you’ll see starts from the written play and returns to it, through a visual and a sound perception. You won’t find intellectual overlays, exhibitions or the wonderful <<director’s ideas>>. We decided to build a complex, perturbing and emotional performance, starting from Euripides and returning to Euripides. We hope to reach our objectives.”

Photo credits: Giovanni Bocchieri, Franca Centaro, Iulia Pana

Translation into English: Gabriela

Daniele Salvo – ” un inger al adevarului”

 „Daniele Salvo nu este doar un inger al adevarului, ci si un manipulator (in sensul bun) al informatiilor destinate spectatorilor care, au si ei, poate, la randul lor, cine stie, schelete ascunse pe undeva.”


Dionisos – Daniele Salvo

Foto: Giovanni Bocchieri

„Dionios pare si chiar este un intelectual care nu are alt capital decat vorbele si ideile sale. E seducator, dar cu o conditie: sa ramana la locul lui de zeu. El este in stare sa-i convinga si pe altii ca ideile Puterii sunt bune. Independenta de gandire il face puternic si periculos in acelasi timp.

Euripide nu pare deloc convins ca ticalosia si cumsecadenia exista in stare pura, ceea ce ar putea sa-l incurce pe spectatorul care isi doreste ca macar in teatru lucrurile sa fie mai limpezi decat in viata.”

GELU CIOBANU, regizor tehnic al spectacolului „Dionysos”

Teatrul de Stat Constanta

Daniele Salvo – „un angelo della verità”

Daniele Salvo  non è solo un angelo della verità è anche un manipolatore (nel senso buono della parola) per le informazioni destinate agli spettatori che anche loro forse hanno degli scheletri nascosti da qualche parte.”


Dioniso – Daniele Salvo

Foto: Giovanni Bocchieri

      „Dioniso non solo sembra un intellettuale, lo è veramente, e ha un unico capitale: le sue parole e le sue idee. È seducente, ma ad una condizione: quella di rimanere al suo posto di dio. È in grado di convincere gli altri che le idee del Potere sono buone. Il libero pensiero lo fa diventare forte e pericoloso.

 Euripide non sembra affatto convinto che la stronzaggine ed il perbenismo esistano allo stato puro, cosa che potrebbe mettere in difficoltà lo spettatore desideroso di trovare, almeno in teatro, le cose molto più chiare che nella vita.”

GELU CIOBANU, direttore di scena dello spettacolo „Dionysos”,

Teatro di Stato Constanta

„DIONYSOS-zeul nascut de doua ori” regia DANIELE SALVO

Un spectacol „nascut” in doua versiuni, din colaborarea a doua teatre: Teatrul Vascello din Roma si Teatrul de Stat Constanta.


     „Tragedia “Bacantele” deschide o fereastra spre irational, spre o lume antica de reala libertate expresiva, de posesiune dionisiaca, o reflectie asupra sensului divinului in viata noastra si asupra a ceea ce, zilnic, e eliminat. Cuvantul antic e un urlet venit dintr-un alt timp, e un apel la meditare, la trezirea sensurilor, e indemnul de a ne privi inauntru in alte moduri.
     Doar in momentele erotice, de boala si de somn ne abandonam ultimelor ramasite de irationalitate si prezenta fizica.



    Bacantele actioneaza intr-o stare de automatism mental, de somn peren, sunt “actionate“ de Zeu. Dionisos opereaza prin ele, prin corpurile si vocile lor, le transforma in instrument al delirului, al senzualitatii, al dezorientarii, al mortii, al dulcetii infinite, al ambiguitatii demonice.Febra timpului nostru ne impinge sa traim intr-o realitate anesteziata, o lume prefacuta in care emotiile sunt date la o parte pentru a face loc unui intelectualism steril si dezolant.

BACANTELE -Teatrul de Stat Constanta

    Suntem orbiti zilnic de imagini transmise de mass-media. Legea pietei nu iarta: se vand cadavre, pozitii sociale, locuri de munca, arme, sex, copilarie, organe. Ramanem indiferenti. Dimensiunea burgheza ne sufoca cele mai bune instincte, ne sufoca sensibilitatea (ce cuvant urat, azi considerat aproape scandalos ), sinceritatea si indeparteaza de noi orice forma de creativitate, orice zbor. Dimensiunea noastra irationala e complet distrusa. Sensul afirmarii Eu-lui ne devoreaza zilele. Arta e golita de spiritualitate. Mass-media, provocatori oculti, actioneaza asupra inimilor si mintilor noastre imblanzind chiar si spiritele cele mai rebele, sigiland pana si ochii cei mai atenti. Dimensiunea spirituala e pierduta pe vecie. Sensul tragicului ne e necunoscut. Corpul ne e anulat. Suntem transformati definitiv in consumatori si, in acelasi timp, in produse, agitati de un razboi mediatic fara precedent de-a lungul istoriei. Credem ca suntem unici, particulari, dar in realitate gandim toti in acelasi fel, spunem aceleasi cuvinte, avem aceleasi exigente, aceleasi sperante, aceleasi nelinisti, aceeasi cotidianitate fabricata in serie.Credem ca suntem liberi.


     Inca mai avem nevoie sa-l invocam pe Dionysus, cel care striga ”evoè”, Protogonos, nascut de trei ori, stapanul Bacchus, salbatic, misterios, cu doua coarne, doua forme, acoperit de iedera, cu infatisarea unui taur, martial, Evio, sfant, care mananca carne cruda, Trieterico, care produce  ciorchini de struguri, Eubuleo, cel plin de sfaturi, nascut din unirea lui Zeus cu Semele, demonul nemuritor.


BACANTELE – Teatrul Vascello

    Ne-am hotarat sa cream un spectacol care sa cerceteze adanc misterul lui Dionisos, gustandu-i esenta pura, abandonandu-ne in vartejul Bacantelor lui Euripide, lasandu-ne hipnotizati de zeul irationalului, de zeul Misterului, de zeul Teatrului.

     Prima intrebare:  unde este Dionisos astazi? Unde se ascunde?

     De aproape 25 de ani studiez vocea si sunetul in toate formele lor, colaborand strans cu doctorul Marco Podda, medic foniatru si compozitor. 

     Aceasta cercetare trece de la tehnici sofisticate de foniatrie la analizarea si reproducerea cantecelor etnice din toata lumea, la tehnici de reabilitare si reeducare a limbajului, la studierea exprimarii sonore in perioada prenatala, la nastere si in primii ani de viata; de la analizarea sunetelor produse in sedintele de transa regresiva si in dansurile tribale la cercetarea efectelor frecventelor  sonore asupra creierului uman (Psihoacustica)

    In Dionysus am lucrat cu sunete extreme, perturbante, sunete private, foarte putin folosite in viata de zi cu zi, extrem de pline de intelesuri si vocalitati hipercinetice neobisnuite. S-a incercat deci folosirea mijloacelor vocale in mod neconventional, nu neaparat in slujba limbajului (mai ales in coruri).
    Dar atentie, aceasta munca asupra sunetului nu are scop in sine, nu intentioneaza sa fie demonstrativa, dimpotriva, este ascunsa in structura lingvistica. Ma gandesc la o interpretare fara elemente burgheze, cuvintele lui Euripide sunt inradacinate in corp si ascunse in cea mai veche ”masina actoriceasca”.


   Starile emotionale sunt mai ales stari vocale si fizice. Corul actioneaza in stare de transa continua, ca protagonistii filmului ”Inima de sticla” de Werner Herzogh. Bacantele nu comunica doar cu ajutorul limbajului si a intelesurilor lui, comunica mai ales printr-o vocalitate antica si o foarte puternica emotivitate. Emotivitatea, iata nucleul acestei munci. Din punctul meu de vedere tocmai emotivitatea este vehiculul care inca  permite realizarea tragicului si a catharsis-ului.
   Pentru un interpret al tragediei grecesti este foarte important sa ajunga la o  temperatura emotionala foarte mare, sa-si compromita vocea si corpul.


In munca mea, urmand exemplul multor artisti europeni contemporani, incerc sa reconstruiesc o posibila cale spre un teatru de interpretare, spre un teatru de actori/interpreti care sa stie sa se apropie cu umilinta de text, care sa il poata decodifica, si care sa poate cerceta si reconstrui mecanismele de compunere si scriere a acelui text, fara a suprapune solutii gratuite si imediate si mai ales fara sa concureze cu autorul.

    Tot ceea ce veti vedea pleaca de la text si se intoarce la text, trecand printr-o perceptie vizuala si sonora. Nu veti gasi suprapuneri intelectuale, exhibitii sau minunate ”idei ale regizorului”. Am hotarat sa facem un spectacol complex, perturbant si emotionant plecand de la Euripide si intorcandu-ne la Euripide. Speram sa ne atingem obiectivele.” 


Foto : Giovanni Bocchieri, Franca Centaro, Iulia Pana


„Purtatoarele de prinoase – Eumenidele” de Eschil, regia DANIELE SALVO, Siracuza 2014

„Oreste ajunge intr-o lume lunara, un capat de lume in care realitatea, visul, universul mortilor si al celor vii se amesteca fara preaviz. E un cimitir, o rascruce intre viata si moarte, loc de miraje, halucinatii si doliu infinit.

Eroul se intoarce acasa dupa un exilui fortat. E o intoarcere dificila, dura. Aduce cu el sangele putrezit al neamului, nostalgia, violenta si dorinta de razbunare.

Zeul Apollo il conduce si il protejeaza. Dar Oreste gaseste un oras spectral, populat de sclave troiane extenuate, femei singure si disperate, acoperite de valuri negre, obligate sa aduca ofrande si sa-l cinsteasca pe mortul Agamemnon, ucis de cei doi tirani, Clitemnestra si Egist.

10341605_10204096419115476_2961090741935171028_nFoto: Ana Afteni

Aerul este dens, bolnav, pamantul e pe veci contaminat, un pamant din care tasneste sange: orasul e supus unui regim insuportabil. Asa incepe parcursul lui Oreste. E un drum dificil, compromitator, care il va duce la confruntarea cu propriile fantome si cu latura sa obscura. E insotit de prietenul sau Pilade, zeul Apollo cu infatisare umana.

10456779_10204096485077125_4184210107820043445_nFoto: Ana Afteni

Intalnirea dintre Electra si Oreste in fata mormantului tatalui da nastere unui vartej de violenta nestavilita, ura, razbunare, posedare dionisiaca, delir al doliului.

10256576_883791768314108_7076431689384963910_nFoto: Franca Centaro

Temele sunt complexe si actuale: lipsa spiritualitatii din viata noastra cotidiana, caderea sentimentului religios, pulsatiile ancestrale ale mintii umane („omul monstru teribil”), controlul violentei in societate, idea de Justitie, fondarea eticii cetateanului modern.

Instituirea Tribunalului Areopagului este una din temele centrale ale „Eumenidelor”. Atena e figura guvernatorului de care am avea astazi nevoie. Tribunalul e alcatuit de „cei mai buni dintre cetateni” si va fi „incoruptibil, inflexibil si etern”, iar votul – un instrument extraordinar in mainile cetatenilor. Astfel se pun bazele civilizatiei moderne.

Dar Eschil insinueaza ca  Atena voteaza cu un artificiu (victoria lui Oreste chiar in caz de egalitate) si creeaza un precedent arbitrar, un viciu de forma al acestei noi „democratii” care va deveni apoi oligarhie travestita in democratie.

Noua civilizatie se naste deci cu un pacat originar? Cu un vierme care o devoreaza din interior?

Furiile, reprezentantele vechilor legi, sunt „imblanzite” cu un alt artificiu, seducerea lui Peitho, Persuasiunea. Insa imblanzirea lor e momentana.

10382983_918573638169254_3299845488225760016_nFoto: Franca Centaro

Poate ca are dreptate Pier Paolo Pasolini cand spune ca Furiile, in zilele noastre, s-au intors si detin adevarata putere a societatii.

Mai exista speranta sau Natura umana e corupta pe vecie?”

Daniele Salvo


Din „Insemnarile de regie”, traducerea Ana Afteni




„AIAX” de Sofocle, regia Daniele Salvo, Siracuza 2010

” Aiax e tragedia orgoliului si a rusinii: marele erou e  umiliat si distrus de divinitate.

Regizorul ocult al acestei reprezentatii e zeita Atena, adevaratul motor al actiunii dramatice a textului. E o zeita nemiloasa, ambigua, rece, care priveste oamenii de sus si rade de ei, de superficialitatea lor, de orgoliul lor, de prostia egocentrismului lor, de presupusa lor omnipotenta. Omul Aiax e doar un experiment, identitatea sa doar o groteasca inventie a zeilor.

Ca in toate tragediile grecesti, nu exista psihologie: personajele sunt emotii pure, fragilitati, tensiuni, putere si greutate scenica. Nu au nimic burghez in ele. Nu exista jumatati de masura: sunt nude in fata spectatorilor. Fiecare dintre ele detine o bucata de adevar, insa unicul posesor al tabloului complet, la sfarsit, e spectatorul”

Daniele Salvo

Din „Insemnarile de regie”, traducerea Ana Afteni

Daniele Salvo -actor si regizor (Italia)


In 1994 a absolvit Scoala Nationala de Teatru condusa de Luca Ronconi in Torino, dupa care s-a perfectionat la Royal Shakespeare Company in Stratford Upon Avon si la Teatrul din Roma.


A lucrat 17 ani cu Luca Ronconi ca principalul sau asistent de regie si ca actor in roluri importante.
In ultimii 15 ani a montat multe spectacole in Italia si nu numai, cu mari nume ale scenelor italiene (Giorgio Albertazzi, Ugo Pagliai, Umberto Orsini, Elisabetta Pozzi, Luca Zingaretti, Piera degli Esposti, Monica Guerritore, Gigi Proietti si multi altii), printre care “Aiax” si “Oedip la Colonos” la Teatrul Grec din Siracuza (spectacole invitate apoi in turneu in Atena, la teatrul „to Skolion” condus de Irene Papas), “Oedip Rege” (la Teatrul Grec din Siracuza), “Purtatoarele de prinoase -Eumenidele” (montat anul trecut cu ocazia Centenarului “Fundatiei Inda -Institutul National de Drama Antica” la Teatrul Grec din Siracuza, invitat apoi in turneu in Cipru la Festivalul International de Drama Antica); “Regele Lear”, “Othello”, “Furtuna” (spectacol invitat la Arena Romana din Verona), “Iulius Cezar” la Teatrul Globe din Roma; “Eugen Onegin Puskin” la Teatrul Stabil din Torino; “Mozart si Salieri” la Teatrul Goldoni din Venetia; “Prague Spring” la Teatrul National din Praga.

A montat de asemenea si doua opere lirice, una la Teatrul Verdi din Trieste iar cealalta la Teatrul Massimo din Palermo.
A fost regizor asociat alaturi de Luca Ronconi, de Jacques Lassalle (“Ifigenia” de Goethe la Teatrul Olimpic din Vicenza), de Jean Pierre Vincent (fostul director si regizor al Teatrului Comédie-Française din Paris), de Andrei Koncealovski si Marco Tullio Giordana.

In 2014 a pus in scena la Teatrul Grec din Siracuza, cu ocazia centenarului Fundatiei INDA (Institutul National de Drama Antica), spectacolul “Purtatoarele de prinoase -Eumenidele”de Eschil, cu peste 100 de actori (printre care Piera degli Esposti, Ugo Pagliai, Paola Gassman, Elisabetta Pozzi, Francesco Scianna). Spectacolul a avut un succes fara precedent la Teatrul Grec din Siracuza (cifra record de 7.000 de spectatori in fiecare zi), la Teatru Vechi din Pompei si in Cipru, la Festivalul International de Drama Antica.



Daniele Salvo este singurul regizor italian care, la 43 de ani, a pus in scena 4 spectacole pentru Institutul National de Drama Antica (INDA) la Teatrul Grec din Siracuza, Italia.
Spectacolul „Oedip Rege” detine recordul absolut de incasari din cei 100 de ani de existenta a Fundatiei INDA (1,7 milioane de euro).



Daniele a vrut sa readuca la viata limba originala a tragediei: partile corale au fost cantate si recitate in greaca antica, obtinand un mare succes la public. Un exemplu: „Ciuma neagra” , muzica Marco Podda, voce Melania Giglio


De aproape 17 ani studiaza diferite tehnici vocale si preda actorie si regie in diferite scoli din Italia.
De curand a infiintat o companie de tineri actori, „I sognatori”, care a debutat pe 15 martie la teatrul Vascello din Roma cu spectacolul „Pilade” de Pier Paolo Pasolini, regia Daniele Salvo.