.
Two cow-boys – later improbable dancers – or maybe two human beings in suspense, bordering on paradox.
On the edges of this border two figures set themselves and go through what needs to be rethought: from our relationship with death to that with beauty; from the sense of theatre to its relationship with the audience (and more: where does contemporary theatre place itself today, in which organ of the social body? In the mind or in the stomach – waiting to be digested? Or does it acrobatically try a synthesis that satisfies both instances?).
An almost surreal mode is used to bring out the real, in the attempt to mess up old structures and create new combinations, while a penetrating, political, and effective dialectical-gestural score stimulates a disobedient and operative intellect thanks to a text which piece by piece opposes common opinions and the mystifications of common sense.

“A sophisticated intellectual clowning. A verbal game on the threshold of the absurd”.

Paola Vannoni and Roberto Scappin, known as quotidiana.com theatre company, work on language, making the dialogical mechanism – synthetically indicated as Q/A – a stylistic signature.
L’anarchico non è fotogenico is the first chapter of the trilogy Tutto è bene quel che finisce, in which the company intertwines and compares the principle of a “good death”, linked to the concept of end or acceleration of a certain end, with the issue of “denied euthanasia”, referred not only to the medical field but also to politics, bio-politics and culture.

The performance is proposed within the online review promoted by the Italian Cultural Institute in Melbourne and curated by Elvira Frosini and Daniele Timpano Play-Back#7, which once a month presents a show by Italian theatre companies they consider significant in the world of contemporary Italian theatre production.