Bologna – Teatro delle Moline. Bogdaproste May God forgive your deaths

Theater of Moline

Via delle Moline, 1/b, Bologna

from 25 to 27 November 2022

Friday and Saturday at 21.00, Sunday at 18.30


May God forgive your deaths

project and direction Catherine Bertoni de Laet

dramaturgy Francesco Maruccia, Catherine Bertoni de Laet

with (in oa) Monica Buzoianu, Flavio Capuzzo Dolcetta, Leonardo Castellani, Francesco Maruccia, Alberto Pirazzini, Giacomo Toccaceli

scenes Paolo Di Benedetto

Margherita Platé costumes

lights Giovanni Voegeli

sound designer Brian Burgan

dramaturgy consultant Tindaro Granata

stage photo Luca Del Pia

production manager Alice Cinzi

production LAC Lugano Art and Culture

in co-production with Emilia Romagna Teatro ERT / Teatro Nazionale

presented as part of the FIT Festival 2022

duration 75 minutes

first national

From 25 to 27 November the show is staged at the Teatro delle Moline in Bologna, in the national premiere after the debut in Lugano Bogdaproste – May God forgive your deaths of the young director Catherine Bertoni de Laetborn in 1994, in his first directorial effort.

The text, written by Bertoni herself with four hands together with her peer Francis Maruccia, stages a family tragedy that reflects on questions of identity and belonging, in close dialogue with the theme of memory over the years. In the center of Bogdaproste – whose meaning in Romanian is “may God forgive your deaths” – there is in fact the relationship with time and with memory.

Drawing inspiration from the figure of Medea, the two artists reformulate the events of the myth by telling of a foreign mother who falls into the reconstruction of violent and violated places of her memory. The narration begins in the delirium of a dream that merges with reality: the woman, thinking of protecting her children and lost in her own inner labyrinth, ends up setting fire to their house. Years later we find the four surviving brothers who, having grown up separately, are confronted with reconstruction and the responsibility of remembering, with the dialogue that the past demands. The confrontation, the accusation, the suspicion travel between their bodies in a raw, sharp and dangerous way, without finding a common language. The relationship between the characters manifests the inevitable absence of something, the inability to collect the fragments bequeathed by the mothers and find a joint that can give them meaning.

«As in the myth – comments the director – everything that moves is never only itself, and by digging into the words you can find unexpected bodies. The relationship between the two figures outlined as Jason and Medea can clearly enclose the meaning of a dialogue between peoples, just as her words can and want to preserve the pain of an Earth devastated by Man. Their voices move in a sound environment that alters, widens, distorts time in an almost dreamlike way, putting distance, but above all a threat in these mythical, supernatural bodies. And it is in front of them that the fragile and bare bodies of a humanity almost unprepared for the confrontation with Time arrive, but which will inadvertently sink, through the intuitions and memories hidden in the flesh, into the complexity of which they are children».

Catherine Bertoni de Laet (1994) undertakes a scientific university course in Belgium. She returned to Italy, she began an artistic training in Rome, where she worked with Fabiana Iacozzilli, Francesco Zecca, Lorenzo Gioielli and Francesco Sala. She graduated from the “Luca Ronconi” Theater School of the Piccolo Teatro in Milan, where she met Antonio Latella, Romeo Castellucci, Mauro Avogadro and Serena Sinigaglia. The four years of training lead to the establishment in 2021 of a working group composed of Monìca Mihaela Buzoianu, Flavio Capuzzo Dolcetta, Leonardo Castellani, Francesco Maruccia, Alberto Pirazzini and Giacomo Toccaceli. As an interpreter you participate in the staging of Double dream by Schnitzler/Favaro directed by Carmelo Rifici, with whom he also collaborates on the digital project They look at us – handbook of an innocent. As assistant director he works with Filippo Ferraresi in his debut at the Piccolo Teatro in Milan with of the Infinite Universe and ne The Traviata directed by Markus Poschner and directed by Carmelo Rifici.

Francis Maruccia (1994) was born in Salento but grew up in the suburbs of Rome. After graduating from high school, he began his theatrical journey within the circuit of theaters off Rome. In 2021 she graduated in acting at the “Luca Ronconi” Theater School of the Piccolo Teatro in Milan directed by Carmelo Rifici. In his academic career he has the opportunity to study with some of the main artists of the Italian scene, including Carmelo Rifici, Mauro Avogadro, Massimo Popolizio, Alessio Maria Romano, Giovanni Crippa and Antonio Latella. In the same year it was directed by Carmelo Rifici in They look at us – handbook of an innocentas part of the digital project of the LAC Native language. Capsules for the future. As an author, he debuts with the monologue Three prayers and an act of pain (2021) of which he is also an interpreter.

Arena del Sole Theater, via Indipendenza 44 – Bologna

Ticket prices: from €7 to €15, pre-sale excluded

Ticket office: from Tuesday to Saturday from 11.00 to 14.00 and from 16.30 to 19.00

Tel. 051 2910910 – |

Bologna – Teatro delle Moline. Bogdaproste May God forgive your deaths