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<i style="position: absolute;
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<p><span class="contact">lorenzopuntoponte [at] gmail.com </span></p>
<p>I was born in Rome, raised between Palermo and Milan.</p>
<p>I graduated in <strong>Classics literature</strong> at the Catholic University of Milan thinking that I would be a literature professor. Then I started a course of theater and I decided to look for a different relationship with words. Therefore I went to study Theater Direction at the <strong>Paolo Grassi Civic School</strong> in Milan. Among the most precious meetings for my artistic and professional growth I count Mariano Furlani, Maurizio Schmidt, Carmelo Rifici, Marco Maccieri, Renata Molinari, Davide Carnevali, Giuliana Musso, and Claudio Autelli. From each of them I have stolen and I continue to steal. After my studies I started working as an assistant director at the Teatro alla Scala in Milan and at the Teatro Franco Parenti with Andrée Ruth Shammah. These were the years of my apprenticeship, in which I began to understand how a theater stage is made and who its inhabitants are. </p>
<p>I’ve directed prose theater and opera shows.
Sometimes I feel the need to write the stories I tell myself, sometimes I work with the words of Others.</p>
<p>In 2018, together with Maddalena Massafra, Clio Sciro Saccà, Marco Sinopoli, we won the Macerata Opera Festival 4.0 competition for the writing and composition of a contemporary opera. In 2022, I received the 3rd prize of the EOP – European Opera Prize for Directors, together with Alice Benazzi and Giulia Rossena. In 2023, we won the 13th edition of the <strong>EOP – European Opera Award for Directors</strong>. </p>
<p><em>From that shame, impotence and pain, something was born that I believe was the desire to become a poet, that is, to be able to express what it means to feel regret for someone, to have been loved, to be alone.</em> <br>Stig Dagerman</p>
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<p><a href="https://www.alicebenazzi.com">Alice Benazzi</a></p>
<p><a href="https://www.instagram.com/giuliarossena/?hl=it">Giulia Rossena</a></p>
<p><a href="https://www.k5600design.com">Emanuele Agliati</a></p>
<p><a href="https://www.rosabelhuguet.com">Rosabel Huguet Dueñas</a></p>
<p><a href="https://www.instagram.com/praxis.ass.cult/">Praxis</a></p>
<p><a href="https://www.larailariabraconi.com">Lara Ilaria Braconi</a></p>
<p><a href="https://arbaro.it">Arbaro</a></p>
<p><a href="https://gliasinirivista.org">Gli Asini</a></p>
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<a href='../../idomeneo/en' >Idomeneo, re di Creta</a><br>
<a href='../../quando_non_saremo_grandi/en' >Once we won't be great</a><br>
<a href='../../buoni_a_nulla/en' >Good for Nothing</a><br>
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<a href='../../idomeneo/en' >Idomeneo, re di Creta</a>
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<h1>Confabulazioni</h1>
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<ul>
<li>written by Eleonora Paris</li>
<li>directed by Lorenzo Ponte</li>
<li>tutor Michele De Vita Conti</li>
<li>with Elena Callegari, Alice Conti, Marco Vergani
and Sebastiano Bronzato, Chiara Caliò, Eleonora Paris, Lorenzo Ponte</li>
<li>live music Sebastiano Bronzato</li>
<li>soundtrack Gabriele Gramaglia, Edoardo Grittini, Gianfranco Pedroli</li>
<li>set and costume design Serena D’Orlando, Valentina Silva, Lorenzo Vigevani</li>
<li>videomaker Chiara Caliò</li>
<li>video set up Fabio Brusadin</li>
<li>organization and promotion Simona Conforti, Elisa Piasente, Camilla Rizzi</li>
<li>Show included in Teste Inedite, Civica Scuola di Teatro Paolo Grassi</li>
</ul>
<p><strong>Director's notes</strong></p>
<p>Confabulazioni by Eleonora Paris is a coming-of-age story; the characters struggle to face reality, the inevitable end of things. They stage a wedding, the most traditional of rites, to exorcise the fear of their grandmother's death and escape from the complexity of a love relationship. Truth and lies are intertwined in this text, everything is fake, nothing is false. Each of the characters has their own reasons for tackling this role play, everyone is committed to making sure the party is as successful as possible. Secrets and unresolved thoughts swirl inside the characters, everything must appear perfect on the outside. On stage, musicians and videographers work alongside the actors to build the image of a happy union. If at the beginning the rules of the game are clear, as the game progresses the boundaries blur and the game gradually becomes more dangerous. The continuous effort to make the party credible ends up subjugating the characters to their own lie. In a society founded on the values of authenticity and individual well-being, what is the state of health of the models who have attempted to ensure the happiness of people?</p>
<p><em>Lorenzo Ponte</em> </p>
<p><strong>Notes on dramaturgy</strong></p>
<p>Two childhood friends meet again a year later. He lives in London, she lives in Italy with her grandmother, a very old woman. To fulfill the grandmother's wish to see her granddaughter married before she dies, the two decide to organize a fake wedding. This fiction, however, reopens unresolved problems in them and their very staging will push them to really look at each other and face the complexity of their relationship. Confabulazioni is a text that talks about loneliness, a condition that the characters live with fear but at the same time see as the only possibility to express their personal freedom. The fear of not being enough for oneself and the fear that others will limit one's independence are the two poles within which the characters move. Their memories become confused with the idealized narratives of their relationship: if the memories create a story and this story is built on one's fantasies, one no longer has parameters to evaluate reality. Everything is valid, but if everything is valid nothing has value anymore.
Through this text I tried to investigate the way in which emotional relationships are redefined today and how the fear of losing the other prevents us from truly discovering it.</p>
<p><em>Eleonora Paris</em></p>
<p>June 2018</p>
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