Analisi Logica

author 
Riccardo Favaro

direction, scenes and costumes
Fabio Condemi

film direction and editing
Adriano Schrade, REC

with (in alphabetical order) 
Alfonso De Vreese
Leda Kreider
Beatrice Vecchione

scenes made by
Matteo Bagutti, LAC

technical coordination
Sarah Chiarcos, LAC

sound engineers
Fabio Bezze
Lorenzo Sedili, LAC
Nello Sofia, LAC

stagehand
Andrea Borzatta, LAC
Serafino Chiommino, LAC
Luigi Molteni, LAC

dressmaker
Andrea Portioli

production delegate
Nicola Fiori, LAC
Vanessa Di Levrano, LAC

video production delegate
Olmo Cerri, REC

images and color production
Giacomo Jaeggli, REC

makeup
Sofia Buop
Romina Kalsi

videomaker
Associazione REC

technical material
Cine5k
Associazione REC

production 
LAC Lugano Arte e Cultura

In order to function in a logical-rational way, the triad subject-predicate-object , the bane of students from their earliest school days, uses a set of postulates that in their very formulation can appear to be contradictory. The more we apply “reductive” principles to language, a shared mode of control, the more the meaning of the operation we are performing veers away from language itself. A specific form of chaos emerges that we cannot rationalize away. What we get is a kind of thought that is essentially anti-systematic, aphoristic and dispersive. How can we know what the subject of a sentence is when the very act of defining what the subject is already presupposes the existence of a subject? And how can we define what an action is when defining is itself an act? What is the really essential part of any discourse? Is there such a thing as a hierarchy among words? Are we forced to accept this inasmuch as it is necessary or do we decide to transmit it insofar as it is reasonable? Logical Analysis is constructed like a long chain of fragments that hold together prose, dramatic dialogue and sequences of isolated, destructured and absolute words.

Language regulates our relationships and our lives. It cannot be taken for granted. The act of communication, like the act of seeing are not immediate as they appear to be, and the only tools we have to analyze language and a point of view are themselves language and our own point of view. As in Stan Brakhage’s book The Act of Seeing with One's Own Eyes, the only act that remains is the autoptic and anatomic act of looking at oneself with one’s own eyes. The number three keeps cropping up in Favaro’s text, sometimes steering the narrative, sometimes flowing just beneath the surface of the text. What Riccardo achieves with his writing is perhaps the only shock possible to make language into something powerful and fragile at the same time. He imagines linguistic and logical paradoxes like Douglas Hofstadter does in Gödel, Escher, Bach and performs continuous leaps of meaning which are both disturbing and exhilarating.

Riccardo Favaro
Favaro is a dramaturge and writer. Born in Treviso in 1994, after completing classical studies he earned a diploma from the Civica Scuola di Teatro Paolo Grassi in Milan where he studied with, among others, Renata M. Molinari, Renato Gabrielli, Franco Brambilla, Tatiana Olear and Davide Carnevali. Right away began working with Giampiero Solari on the adaptation of his performances. In 2017 he was a finalist for the Premio Riccione – “Pier Vittorio Tondelli” with his text Nastro 2. As an author he made his debut at the Festival del Teatro Greco in Syracuse and at the Biennale di Venezia, where in 2018 he won a Special Mention for Saul directed by Giovanni Ortoleva.  As an author he has participated in various contemporary dramaturgy festivals such as Metropolis – Terre Promesse, Tramedautore, Situazione Drammatica and the Drama Lab of Fabulamundi Playwriting Europe. In 2019 he won the Premio Scenario with Una Vera Tragedia, of which he is the author and director along with Alessandro Bandini. That same year he began working with Carmelo Rifici.

Fabio Condemi
Condemi is thirty years old. After graduating in directing from the Accademia d'arte drammatica Silvio d'Amico, he received a special mention from the section College della Biennale Teatro di Venezia for the study Il sonno del calligrafo  (2017), a work taken from a novel by Robert Walser which premiered in theatrical form the following year. He is one of the artists who contributed to creating Radio India, a project conceived during the first lockdown caused by the pandemic. His most recent work La filosofia nel Boudoir, by D.A.F. De Sade premiered in 2020 at the Biennale teatro di Venezia, during the same year he worked as a teacher at the Scuola del Piccolo Teatro (Milan).

Alfonso De Vreese
Born in Modena in 1992, De Vreese’s father is Belgian and his mother Italian. He trained at the Galante Garrone theatre school, at the Scuola di Alta Formazione di ERT and at the Scuola di Teatro Luca Ronconi del Piccolo Teatro (Milan) where he earned a diploma in 2017. His has worked with among others Claudio Longhi, Damiano Michieletto, Giorgio Sangati, Alessio Maria Romano, Tindaro Granata, Emiliano Bronzino and Emiliano Masala. He acted in Uomini e no  directed by Carmelo Rifici and in Il ragazzo dell'ultimo banco by Jacopo Gassmann. He founded the theatrical company La Tacchineria and played in Potrei amarvi tutti which in 2018 earned him the theatrical Scholarship Anna Pancirolli.

Leda Kreider
Italo-American born in 1991, Kreider graduated from the Scuola del Piccolo Teatro (Milan) directed by Carmelo Rifici. She was one of the interpreters of Uomini e no directed by Carmelo Rifici, produced by the Piccolo. She played Portia in Shakespeare’s Julius Caesar under the direction of Àlex Rigola, produced by the Teatro Stabile del Veneto. She took part in the project Choròs conceived and choreographed by Alessio Maria Romano. In 2018 she debuted at the Biennale Teatro di Venezia in Orestea – Agamennone, Schiavi, Conversio a work staged by the collective Anagoor and directed by Simone Derai and which was also shown in Paris and Mulheim. She was assistant director to Giorgio Sangati for Cuore di cane and to Valter Malosti for Se questo è un uomo. In 2019 she played Margherita in Scene da Faust by Federico Tiezzi. She is member of the cast in a television series being produced for RAI-Cattleya directed by Andrea Molaioli and a series for Sky-Groenlandia directed by Matteo Rovere.

Beatrice Vecchione
Born in Naples in 1993, after matriculating in the sciences she graduated from the Teatro Stabile di Torino directed by Valter Malosti. Later she took part in many of the Teatro Stabile’s productions working with directors such as Valter Malosti, Mario Martone, Leo Muscato, Jurij Ferrini, Marco Lorenzi. In 2017-18 the Stabile di Torino chose her to be the face of their season. In the summer of 2017 she was selected by the Centro teatrale Santacristina, founded by Luca Ronconi and Roberta Carlotto.  In 2019 she debuted at the Piccolo di Milano in La tragedia del vendicatore directed by Declan Donnellan. That same year, together with Lucrezia Guidone, who was also the director, she appeared in L’Arminuta produced by the Teatro Stabile d’Abruzzo and she played Sonya in Uncle Vanya directed by Krista Szekély. In 2020 she played in the project Onirica under the direction of Giulia Odetto, which was one of the finalists in the competition of the Biennale College Teatro promoted by the Biennale di Venezia, directed by Antonio Latella, aimed at young Italian directors under 30. She has recently worked on the set of a serial filmed by Francesco Ebbasta, produced by Cattleya.