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<i style="position: absolute;
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bottom: 1rem;
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right: 1rem;">Giulia Rossena</i>
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<p><span class="contact">lorenzopuntoponte [at] gmail.com </span></p>
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<p>I was born in Rome, raised between Palermo and Milan.</p>
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<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>
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<p>I’ve directed prose theater and opera shows.
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Sometimes I feel the need to write the stories I tell myself, sometimes I work with the words of Others.</p>
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<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>
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<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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</a>
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<p><a href="https://www.alicebenazzi.com">Alice Benazzi</a></p>
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<p><a href="https://www.instagram.com/giuliarossena/?hl=it">Giulia Rossena</a></p>
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<p><a href="https://www.k5600design.com">Emanuele Agliati</a></p>
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<p><a href="https://www.rosabelhuguet.com">Rosabel Huguet Dueñas</a></p>
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<p><a href="https://www.instagram.com/praxis.ass.cult/">Praxis</a></p>
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<p><a href="https://www.larailariabraconi.com">Lara Ilaria Braconi</a></p>
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<p><a href="https://arbaro.it">Arbaro</a></p>
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<p><a href="https://gliasinirivista.org">Gli Asini</a></p>
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<a href='../../idomeneo/en' >Idomeneo, re di Creta</a><br>
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<a href='../../quando_non_saremo_grandi/en' >Once we won't be great</a><br>
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<a href='../../buoni_a_nulla/en' class="selected" >Good for Nothing</a><br>
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<a href='../../tu_sei_agatha/en' >You Are Agatha</a><br>
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<a href='../../confabulazioni/en' >Confabulazioni</a><br>
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<a href='../../idomeneo/en' >Idomeneo, re di Creta</a>
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<a href='../../quando_non_saremo_grandi/en' >Once we won't be great</a>
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<a href='../../buoni_a_nulla/en' class="selected" >Good for Nothing</a>
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<a href='../../tu_sei_agatha/en' >You Are Agatha</a>
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<a href='../../confabulazioni/en' >Confabulazioni</a>
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<div class="content scrollbar">
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<h1>Good for Nothing</h1>
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<div class="text_content">
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<ul>
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<li>written and directed by Lorenzo Ponte</li>
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<li>with Tobia Dal Corso Polzot, Paola Galassi and Luca Oldani</li>
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<li>set design Davide Signorini</li>
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<li>costumes Giulia Rossena</li>
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<li>lights Emanuele Agliati</li>
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<li>sound design Gaetano Pappalardo and Simone Sigurani</li>
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<li>assistant director Filippo Capobianco,</li>
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<li>radio newspaper voice Pietro Adami</li>
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<li>with the artistic supervision of Giuliana Musso</li>
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<li>Pictures by Foto di Luca Del Pia</li>
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<li>production Teatro Franco Parenti </li>
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</ul>
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<p>with the support of PRAXIS - Olinda/TeatroLaCucina - Winner of the Fantastic Theatrical Animals 2021 ZONA K tender as part of the IntercettAzioni project - Lombardy Artistic Residency Centre; Claudia
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Lombardi Foundation for the theatre</p>
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<p>Observe and stay on the margins to understand what is at the center of our society.
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Guided by this idea, for 3 years we have undertaken a journey of understanding
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and approaching people's lives homeless in the city of Milan. Between 2019 and
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2021, the company joined psychologists, educators and volunteers who work with
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people experiencing this phenomenon of expulsion. </p>
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<p>The research method was
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divided into three different moments. A first part of participatory observation, in
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which the whole company accompanied the road units for a long period on night
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outings in the downtown streets. This work has allowed us to build relationships of
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trust. The second part of the research consisted of going into the street to talk to
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people without being framed voluntary associations, to try to distance themselves
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from a volunteer-assisted relationship. Finally, where possible, we conducted
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interviews with homeless people, workers and volunteers and experts to try to build
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a broader framework that would allow us to read homelessness as a social
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phenomenon and not as individual problem. Our prejudices were shattered and,
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seen up close, we found many points of contact with people who we tend to hide
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and chase from the streets of our cities. The poor today are invisibilized and
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stigmatized because they force us to deal with the distortions and limitations of
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increasingly exclusive and repelling cities.</p>
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<p>From the research described above, a narrative show emerged in which voices,
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silences, bodies and the emotions experienced on the field. We are at the stop of a bus that we don't know if it will ever pass. We wait for him together with three
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characters whose intertwining events tell like a prism the internal and social
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marginality of Milan. A young Bocconi student, struggling with the last exams before
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graduation. A 30-year-old precarious journalist, tired by the city's rhythms, she
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decided to volunteer with homeless people. And finally a weirdo prophet, who
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curses the madness that dominates the city and offers everyone a way of salvation.</p>
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<p>With the show we want to bring the life of those on the margins back to the center
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by trying to question the pietistic and superior look that we reserve for deviants. The
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voice and experiences of the last challenge us: how do we do we face the pain of
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the other? And how are we, the healthy ones? And now, what can we do?</p>
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