Nell'ardore della nostra camera

by MASSIMO SGORBANI
with DONATELLA BUSINI
directed by PAOLO ORLANDELLI

“This family bullshit.” In the delicate transition between the 20th and 11th centuries, when taboos fell and the Catholic religion began to collapse under the weight of anachronism and hypocrisy, Sgorbani opened and photographed the contents of one of those “closets” that many prefer to keep tightly closed, because it hurts to witness the pettiness and pettiness of an education that has produced, above all, revolting monsters..

Photogallery

Trailer

Through this funeral eulogy, on the contrary, Sgorbani manages to build a world populated by murky characters with the evocation of memory, from the builder husband obsessed with the cult of erection (whether it is construction or sexual will not make much difference), from this irate and submissive wife up to the children, amplified mirror of the deformations of the parents.

Viviana Raciti

Teatro e Critica

Sgorbani's pen

A shocking experience never experienced before

Massimo Sgorbani’s texts are said to be confessions: it is true, because they consist in the transcription of thoughts and often unpronounceable inner motions. But the most extreme practice exercised by Sgorbani is, in my opinion, vivisection. How his gaze manages to grasp and his pen to describe the ruminations that bubble up in the deepest recesses of the human soul, is a mystery that – as Sgorbani declared – surprises himself.
Embarked on a microscopic probe, suddenly alone for the intimacy to which the author forces him, the spectator proceeds through the very narrow meanders of the brain, climbs along the ganglia and slips into the synapses, between dreams, memories and events, to escape from the eyes, nose, mouth, ears, vagina or glans of characters of a monstrous humanity in which it is impossible not to recognize oneself.