Amendoins
Event
Fausto Paravidino — author of the play — was born in Genoa, in 1976. He is a theatre and film actor, translator of Shakespeare and Pinter, film director and author of plays that marked the rebirth of Italian theatre. In his words: “The theatre is a means to communicate, it is an occasion to share joys and pains, thoughts and emotions in a public place”.
“Amendoins” (Peanuts) was born from a commission by the National Theatre of London, in December 2000, with the intention of writing a play aimed at a young audience, which opened up to the author the possibility of getting young people to talk to other young people. He looked for a model of common dialogue, himself and the actors, from the universal language of Shultz's “Peanuts”, which are like Beckett's theatre, but unlike Beckett’s these are popular.
In “Amendoins”, an attempt is made to elaborate a summary of the themes of globalization through the maxim that “what is personal is also political”. The 23 sections of the play represent an attempt to measure, in everyday life, the great themes of politics. They are also a kind of ironic descant, but never caricatural. In general, the same concept expressed in a childlike way in the first act returns in the second in the adult form.
Ten years pass from one act to another, and the play leads us to reflect on how things could have been otherwise if, in a past time, we had made different life choices than those we did. In the words of Buddy (character in the play): “If at that time I had done it like that, maybe it had happened differently, or maybe not, nothing had changed, I'd just been on the other side. But I like to think about it anyway.” — Manuel Wiborg
“Amendoins” (Peanuts) was born from a commission by the National Theatre of London, in December 2000, with the intention of writing a play aimed at a young audience, which opened up to the author the possibility of getting young people to talk to other young people. He looked for a model of common dialogue, himself and the actors, from the universal language of Shultz's “Peanuts”, which are like Beckett's theatre, but unlike Beckett’s these are popular.
In “Amendoins”, an attempt is made to elaborate a summary of the themes of globalization through the maxim that “what is personal is also political”. The 23 sections of the play represent an attempt to measure, in everyday life, the great themes of politics. They are also a kind of ironic descant, but never caricatural. In general, the same concept expressed in a childlike way in the first act returns in the second in the adult form.
Ten years pass from one act to another, and the play leads us to reflect on how things could have been otherwise if, in a past time, we had made different life choices than those we did. In the words of Buddy (character in the play): “If at that time I had done it like that, maybe it had happened differently, or maybe not, nothing had changed, I'd just been on the other side. But I like to think about it anyway.” — Manuel Wiborg
