"Hi, Alfonso." "I'm working on a new show." "Alfonso!" "Hey, don't you recognize me?" "Of course I recognize you, you good-for-nothing!" "Aren't you ashamed to show up again after what you got up to last year?" "We looked like fools." "Good-for-nothing!" " I AM SELF-SUFFICIENT " "Hello?" "Oh, hi, how are you?" "What happened to you?" "I wanted to offer you an experimental theater piece." " Oh, you're in theater, since when?" " For six years." "Well, anyway, Silvia, I'm still..." "Still..." "Yes, let's say it, still very young, you too..." " You're young." "How old are you?" "I never remember. - 22." "22." "So I have to get a degree, I have to work for a living." "How can I support the child?" "What can I do?" "Start washing dishes, making beds, meals..." " Well, what about me?" " No, you're right, it's the least I can do." "And how can I do it?" "How?" "I can't read anymore, do anything, have my own life." "This was in American films 40 years ago." "Times have changed." "So why did we get married?" "I really don't remember." "Why..." "Why..." "Yeah, I know." "No, I don't know." "Huh?" "We haven't been happy together for half an hour." "Do you think it's better for me to go away for a while?" "When you talk like that I really don't understand you." "What sense is there in exaggerating all the time..." "What are you doing, smoking?" "You've even started smoking now." "You aren't thinking of the little one." "Well, if we're getting to that level." "I'll get Andrea, so he can say goodbye." "Why are you making such a scene?" "You know very well you can't stand me much." "You're the first to admit that we're no good together." "Yeah, yeah, you're right, you're right." "Andrea!" "Andrea!" "Your mother is leaving." "Andrea, now, when we go in, when I cough, you go: "Mm..."." "Got it?" "Try it." "Try it again." "Andrea, your mother's leaving." "Your mom's leaving for a long trip." " Bye, Andrea." " Bye, mom." "In the cinema, the actors are the middle class;" "the image is the proletariat;" "the soundtrack is the petty bourgeoisie, forever fluctuating between one and the other." "The image, as proletariat, has to seize the power in the film after a long struggle." "(Oh, why do I have such a strong urge to throttle you?" ")" "Hello?" "Hi, how are you?" "I wanted to do a theater piece that's a bit experimental and I thought of you..." "This is Alberto Moravia." "Did you get the tickets?" "A great show." "Frankfurt against Benfica." "The flag?" "No, I don't carry the flag anymore." "They've already beat me up 3 times." "Have Arbasino carry it, he's even got a banner." "Siciliano?" "Siciliano's coming too?" "No, I'm not going any longer." "No, you never know what that guy will get up to, no." "No, no, no, no." " No, no, I don't want to." " Giorgio..." "No, I'll go to one of those art-house cinemas." "I have penciled in an appointment with Gianni Scalia, we're going to see "Bread, Love and Dreams"." "Well, how long will it take?" "Huh?" "Okay, I'll call you." "Bye." "Hi." "Yeah... hi." "Because I wanted to hear from you." "Yeah, I wanted to..." "I had... yeah." "No..." "Don't call me Ciccio." "Hello?" "Hello?" " Hello, is Alberto there?" " No, there's no Alberto here." "What do you mean?" "He's lived here for 20 years." "No, Alberto isn't here and he never will be." "Alberto, I know you're in there!" "Alberto, this year's really different!" "It's not like the last time." "There's a new organizational structure, a new circuit." "It sounds good to me, yeah, yeah." "Not at all, not at all." "Who are the other actors?" "Yeah." "Yeah." "Yeah." "Ah." "Him too." "Okay." "I wanted to ask you a..." "Is there any chance of getting some mon..." "No!" "No, just to..." "Oh, please, I'd never dare." "No, just..." "Training..." "Thanks for letting us use your house." "I'm contacting a well-known theater critic." "I hope he comes to the show." "Hi." "Yeah." "Hi." "Well, so okay, huh?" " Okay?" " Yeah, okay." "What do you mean, "okay"?" "Why "what do I mean"?" ""All right"." " Oh, because it's all right?" " Just okay, all's well." "All's well?" " I said "okay"." " Yeah, okay..." "It seems we agree." "Okay." "I'd really like to leave home, I can't take it anymore." "I can't stand it." "Being there, my father, my mother, all day, how's it going, what's up, all this fuss..." "You're sad, they look at you, saying: "What happened to you?"" "Well..." "We don't all know each other, so let's introduce ourselves." "First of all, Michele." "We're guests at his house." "Then Giuseppe," "Valentina," "Pio and Benedetta, with Italo between them;" "Giorgio;" "and last, Paolo." "The theater of Beckett is at the origin of this show." "Starting from there, my intention, our intention, is to work on material "in progress", so to speak." "That is, I want to recover some elements such as the gesture, the form," "and others like the soundtrack, the lighting, the editing of scenes." "Giorgio!" "No, no, I hear you." "It's a technical thing." "Well, it's my fault." " Forget it." " It's not your fault." "But it is, it's my fault, I tell you, I'm aggressive, it's my fault." "It's not your fault, it's my fault, too, I realize that." "I tell you it's my fault." "All right, I made a mistake." "I know myself, I know." "I'm also aggressive, I shouldn't have done it." "No, I repeat, it's my fault." "Look, let it go." " I made a mistake, that's that." " I made a mistake as well." "I'm interested in recovering a whole series of elements:" "Artaud, Bataille, madness." "In this show I want to abandon banal, gourmet foods." "I want genuine, stark theater." "I'm interested in..." "I want to reach madness." "No, look, fine." "You have a really powerful beginning." "If you don't want to be here, get out then." "Andrea!" "You're not sleeping?" "But why not?" "Andrea!" "You're not asleep yet?" "Careful, I'll call the old lady." "Do I call the old lady?" "Or the gorilla that's in my room?" "Do I call the black guy?" "Do I?" "How ugly is the black guy!" "He's ugly!" "Do I call the black guy?" "Sure, it won't be an easy job." "You'll say, "job"." "Yes, job." "Complex work which is satisfying, however." "But we also need to work as a team." "To attain that, we need a period of preparation." "Of preparation..." "So we need a bonding phase, when we can get to know each other, to work together, even criticise each other." "So perhaps a trip, a few days rehearsing out in the open." " Tell me what you think." " Well, no..." "I have nothing to say." "So, what do you think?" " That... maybe we could still..." " We could what, sorry?" " Nothing." "No, no, tell me." " Sorry, but..." " Tell me what you think, please." " I told you." "This is the doctor." " In case something were to happen." " What can happen?" " Let's go, come on!" " Olmo!" " Starting." "Carry these." "Berlinghieri and Dal Cò, you too, come on." " That way." " We have to go this way." " No, that way." " Listen, it's this way." "In these hills of the Langhe district, how can we not think back to Eliot's work?" " Enough!" "What do you want?" "So..." "April is the cruelest of months." "In fact they are continually closing my garage and I can't go to Fregene, my favorite place for rest and leisure." "There's Fabio, pathetic as always." "The music, striking; the others, good." "The woman cashier is wonderful." "What is all this activity?" "Are you going to take a picture?" "A close-up of me, of Alberto Moravia." "By the way..." "Doctor, listen, really..." "Sit down." "Well, is Sanguineti truly a monster?" "I read an article, I didn't understand a thing, even the photos were awful, like the film "Godzilla"." "I go every day to an art-house or an independent cinema." "Every evening we meet there, at the Farnese, always the regulars." "There is Enzo Siciliano, who has a bad habit:" "He moves continually from seat to seat, a thing I accept, but don't join in." "Nothing should be known of my private life." "That's enough guitar, Paolo." "Let's exercise now." "Everyone over there." "Let's do push-ups, on the ground." "No, we said no to push-ups." "Yes, Giorgio, push-ups." "One, two, one, two." "One, two." "One, two." "Come on, more confident." "One, two, one, two, one..." "Italo, really, you do it on purpose!" "Without pectorals, without abs you can't be at avant-guard." "Come on, let's start again." "Up, down." "Up..." "Get up." "Down, up, down, up..." " Doctor!" " One, two." "One, two." "One..." "Come on, a bit more." "Not so stiff, come on." "Less bouncy." "More flexible than bouncy, come on." "One, two." "One, two, one, two, one, two." "Enough, you can't do anything this way!" "I won't do the show anymore, that's enough!" "What did I bring you outdoors for?" "We have to cooperate, to be united." "My work is always a monument to contradictions." "This is a show..." "So, let's go?" "We're going, come on." " What the hell do I care?" " Was it the voice of the storm?" "Where are you going?" "You still haven't understood that it's a movement organized by Giorgio Bassani and by Italia Nostra?" "Isn't it clear?" " What the hell do I care?" " Where are you going?" "He's coming back!" "United against the monster!" "Fabio!" "Look at that." "Fabio!" "Come here." "Hmm, no." "Let's go!" "Hurray, we're almost there!" "My goodness!" "Giorgio, come here." "The doctor..." "Here's what the mother gets: 9 months of pain and 20 years of suffering." " What is it?" " The sea." " Did you see?" "Let's go." "Now let's do a little exercise to build up the muscles." "Not for free, we'll need it for the show." "Hey, it's Sunday?" "There's the derby, it's Roma-Lazio!" "There's the derby!" "Hold the watch for me, I'll kill him!" "Hold the watch for me, I'll kill him!" "Giorgio!" "Giorgio!" "Giorgio!" "Giorgio, you have to go." "Giorgio!" "Leave me alone!" "Giorgio!" " Giorgio, you have to go." " Giorgio!" "It's your show, it doesn't matter to me at all." "Poor guy." "Nothing, absolutely nothing?" "Giorgio, you have a substitution, you have to go to Fiano Romano." " Go, Giorgio, go!" " Go on." "Go!" " Come on, Giorgio!" "Come on!" " Go!" "Go, go, go on, go on!" "Man!" "Come on, Giorgio!" "#Go Roma!" "#" "Go!" " Go on!" " Try hard now!" "Giorgio, think of our show!" "Stop, Fabio." "The films recommended in the paper today." ""Eye of the Cat"." ""The Divine Nymph"." "Well, that's water under the bridge." ""That Most lmportant Thing:" "Love", "The Red Carnation"," ""My Friends", "Seven Beauties"." ""Seven Beauties", Fabio." "Well, why do the critics recommend these films?" ""The Innocent"." "Maybe because they really like them." "Come on, that's not possible, Fabio." ""Seven Beauties"!" "Wow!" "You know those American actors, wow!" "They're always gesturing." "Well..." "Dear Fabio, Liu Shaoqi." "Liu Shaoqi..." "I wonder what happened to him?" "But you don't even know who he is." "Absolutely no politics for you..." "Ireland." "You remember when we all talked about Ireland?" "Ireland." "Who remembers Ireland anymore?" "20,000 more card-carrying members this year, for our party." "As if they were season tickets for Roma at the Olympic Stadium." " Giorgio behaves like a student when he does Moravia." "Right?" " Yeah..." "Well." "The other day I met a guy." "He says: "I agree with you, a little smoke once in a while"." "Only it happens to him regularly, three times a day, every day." " Let's go back to socially-committed Italian cinema." " You're jealous, yeah!" "Me jealous?" "Me?" "Italian cinema..." "There are those films where you see a desk full of books, and the headline of a paper where you can only see one thing, "I'Unità"." "So the spectator says, "That's a comrade." "He reads 'I'Unità"'." "Or the guy who's walking along the street, in his jacket pocket there is a folded magazine, "L'espresso"." "Well, I'm going, okay." "I remember, see..." "There was even a film..." "A guy woke up and turned on the light on his nightstand." "And on the nightstand there was even..." "the "Quaderni piacentini"." "Really." "Okay." "Oh, wait, Fabio." "I still have lots of things to tell you." "Well, that's enough, I've finished." "Thanks." "Next time, however, I'll talk about the underground." "(The necessary physical properties of the particular commodity... ) (The particular commodity, in which the money form)" "(of all other commodities is to be crystallized... ) (insofar as they directly follow from the nature of exchange-value... ) (They are:" "Unlimited divisibility, homogeneity of its parts... )" "(Homogeneity of its parts and uniform quality of all units of the commodity)" "(as the materialization... )" "As the materialization..." "I do not understand anything here." "Maybe I chose the wrong ideology." " Shall I go?" " No, wait, it's not time." "Go!" " One." "Quiet!" " No, wait." ""One" is written with an exclamation point." ""One!" not "One"." "One!" "Quiet!" "Where was I?" "We've lost the train of thought, we're fed up." "Soon everything will fall to pieces." "There'll be no more voice." "A drop of water on your head, from the age of the fontanelle." " Hey, enough!" "We're working." " And leave my son alone." "Yesterday I was thinking of how many relationships I have in this period." "I counted 15 and they're all important." "No, they're not in order of importance." "I am first." "(Well, I have to phone the critic." "Let's hope I don't find him.)" "(Let's hope I don't find him.)" "(How many magazines does he write for, anyway?" "20... ) (No... 14, 15, 3 dailies.)" "(2, 3... in reviews.)" "(I have to think about the reviews, get charged up." "Go, go, go, go on!" ")" "Yes?" "Oh, yes." "No, with pleasure." "No, the novel is dead." "The theater isn't." "Because theater is the place where they still draw some eloquent hieroglyphics." "I say, it's the place where..." "The theater infers meaning from the demolition of meaning." "I've discovered your trademark:" "You never have a sweet expression." "Oh, "I don't have a sweet expression"?" " What are you thinking?" " Nothing..." " What?" " Huh?" " Did you say some...?" " No." "("Seven Beauties"..." "Well... )" "Yeah, I'll give you back Andrea!" "Andrea stays with me, he's fine with me!" "Give him to you!" "You don't pay for children." "You don't pay for children." "I'll give him to you!" "I'll see him when he's 12-13 and he's already done everything:" "He's tried this and that." "He's gone to Turkey, speaks of Freud as if he was his cousin." "What's he got left to do?" "Nothing." "So at 14 he kills himself, perhaps without ever having read a book." "I'll give him to you!" " So what's happened to Giorgio?" " He got a substitution." "Well..." "Marra." "Michele!" "Michele!" "Michele!" "Giuseppe is leaving home, he got a scholarship." "He's finally going." "Are you happy?" " Huh?" "He's leaving!" " Yeah, bye." "Wow, but you're clever, huh?" "How did it occur to you to wake me up like that?" "You've ruined my day." "Giuseppe got a scholarship." "Giorgio got a substitution." "You're doing the show." "And I don't have a sweet expression." "Listen, I have something else important to tell you." "You know that in America, at the University of Berkeley," "Lina Wertmüller was offered the professorship of cinema?" " Who, from "The Seduction of Mimi"?" " Yeah, her." " From "Swept Away by an Unusual Destiny in the Blue Sea of August"?" " Yeah." " From "Seven Beauties"?" " Yeah." " "Seven Beauties"?" " Her, yes." "It was time, wasn't it?" "You'll see that Italian cinema has finally found its standard bearer." "Our films are well-liked, they make money." "This is an important event, which creates a precedent." " Fabio, but isn't dad coming?" "Fabio!" " No, your dad's coming now." "Wait." "Why?" "!" "Tell me why!" "Can I do it in English?" "I'm sure I can manage..." "Why?" "!" "Tell me!" "No, wait." "Why?" "Tell me the..." "because of my sufferance." " No?" " No." " More...?" "Less...?" "More...?" "Why?" "Tell..." "because of my sufferance." "No!" "I seem like Gian Maria Volontè, all tense, wound up." " Thanks." " Thanks, dear." "More abstract." "Less naturalistic." "I don't like it." "Stop." "Try it out." "Shall we do it in movement...?" "All that together in movement?" "What do you mean "in movement"?" "Here, Valentina." "Come on, let's go." "One!" "It will be voice!" "Fabio, look at Giuseppe." "He's no good, give him something." "All right, the wheel." "Here it is." " A drop of water on the head..." " Turn with the wheel." "Turn together, you and the wheel." " Continue like that." " Always the same beat..." " No, no, that's not good." " Well, what do you want?" "You should be more serious." "Less accentuation, more serious." "See how you are!" "Did you hear what Fabio said?" ""Just more gestures"." "Got it?" "You keep on holding the sheet." "Hold up the sheet." "You have to hold just the sheet." "Understood?" " What?" " What do you want?" " You're angry with me." "What are you saying?" "Did you hear what Fabio said?" "Did you hear, yes or no?" " You're not good!" " No, you play with the sheet." "Stanislavskij, play with the sheet!" " You're not a good actor!" " Enough!" " No!" "Okay, but it's him, though, you see?" "It's him..." " Andrea, are you happy to sleep here tonight?" " Yeah, yeah." "Wait, cool them down properly, so later, it'll go better in bed with the hot water bottle." "Go!" "...and blessed is the fruit of your womb, Jesus." "Holy Mary, mother of God, pray for us sinners now and at the hour of our death." "Amen." "In the name of the Father, the Son and of the Holy Ghost." "Amen, so be it." "Baby Jesus, bless dad, mom and uncle Rinaldo." "Uncle Rinaldo?" "Who's that?" "Do you remember that it's my birthday?" "Have you decided to wish me a Happy Birthday?" "Shall I lower myself first?" "37." "I don't have it." "I have to go to rehearsal." "Fabio, I brought you that soccer player." "I told you, I'd like to use you at a moment in the show where you appear here in this set together with the actors, who will be placed symmetrically on some tree stumps." "You slalom." "No, wait." "Coach!" "Bounce the ball here." "Nothing." "No." "No, sorry, I just don't need you." "Shall we start again?" "No?" "Hmm?" "Well, okay." "I want the money!" "Fabio, damn!" "Fabio," "do you agree that I don't have a sweet expression?" " Show me." " No." " No." "No." "So, here are the snacks." " Crazy." " Another 5 minutes." " Really crazy." "I'm taking part in this show only because I was assured of the presence, at the opening, of Maria Schneider, with whom I shall couple, carnally with a pat of Cademartori butter." "Fabio, will we still be here at the feast of the Assumption?" "Yes, we'll still be here." "The "L'espresso" intelligent vacation." "Fabio, get a government job, or state-controlled..." "We entrust the choice to you." "Yeah, yeah, look at your face!" "Fabio, do you like these new trousers?" " Fabio, oh!" "Do you like them?" " They're like a banker's." " Why a banker?" "Yeah, look, a banker." "The color, the stripe..." "A banker." "Like a banker." "Like a banker." "What does that have to do with anything?" "There are serious bankers, comrades." "All people who..." "And what are these?" "Those are the magazines, then I have the books." "The Olympia Press series, but only two are really any good, the rest is rubbish." "Why are you looking at me like that?" "Now, for example, I'm going to see "She-Wolf"." "Excuse me, now you and I have to talk, Fabio." "In my opinion, there are two kinds of films in this genre:" "On one side there's the erotic cinema, which has its purpose, and may interest certain strata, and on the other side is pornographic cinema, pornography pure and simple." "And it's the only one I like." "It must be two years since I went to see an important film, one they're talking about." "If they have any auteur or artistic ambitions, they say:" ""Yes, there are nudes in this film, but this is art, not pornography"." "I absolutely do not go." "What is this nonsense about artistic nudes?" "You buy pornographic magazines and discover that half of the Italian intellectuals write for them, discover that all that is liberating." "They've now discovered Laura Antonelli." "I've been following her ever since" ""Bali", Ugo Liberatore, 1970." "Do you remember the first bare breasts on "King", on "Kent" 9 years ago?" "When you read or watch these things do you accept it with self-irony?" "Are you stupid?" "With self-irony!" "Lights!" "Sound." "No, no, you play." "I'll go in and call the critic to inform him about the opening." "You're ready for the opening, right?" "I'm leaving home." "I've even got the scholarship now." "So don't worry, I have no problems." "Sure, maybe for my parents... anyway." "You know that American gesture that means: "Yeah, okay..."?" "Really American." "There are so many people who do it, look..." "Well, play, come on!" "He does deep breathing, like Maiorca, when he dives down to 80 meters." "When I talk to Lorenzo, I feel like a nobody." "He always says: "You don't liberate your homosexuality,"" ""you're always at home, you've never lived in a commune."" ""What are you living for?"." "I should feel worse for this?" "Play, it's your turn, come on." "I can't do it." "Come on, call, go on!" "It's my ball, go." "I don't know why people feel more leftist because they wear an earring, because they only eat two potatoes for lunch, because..." "So who tells you that means being farther to the left?" "I, however, feel more to the right." "Yes, a good-for-nothing." "I read that article of yours." "Yes, that." "In one of the 12 magazines you write for." "Real bullshit!" "You're an opportunist, sold out!" "Sold out to the Americans!" "Sold out to the Americans!" "Yeah!" "It's just a rehearsal, in case he treated me badly." "But now I'll really call him." "So when's the opening?" "No, almost certainly." "Yes, you can count on it, I do." "Oh, no, I like this basic theater, frugal." "A horrible season, an orgy of useless objects, bric-à-brac à la Porta Portese." "No, frugality is everything." "Look!" "Oh, we'll give him this MS, huh..." "What is it?" "What is that stuff?" "It's Afghan, good stuff!" "I don't feel anything." "The reductive figure of speech, adopted by displacing the real..." "You have the echo of displacement, not the displacement of the echo and therefore, going back to the same symbolic chain, to the same bond of meaning naturally, in a more general sense..." "Regarding general:" "Can you list all the General Custers in the history of cinema?" "There are 11." "From '26, I'll give you an end date, to '70." "Dustin Farnum, Frank McGlynn, Ronald Reagan, 1940," "Addison Richards, Errol Flynn, '41, James Millican," "Sheb Wooley, Britt Lomand, Phil Carey," "Robert Shaw and Richard Mulligan. 11." "I'm starting..." "I don't know how to put it..." "How to get across..." "I don't know how to explain, as if..." "As if a whole series of things were opening..." "I'm leaving home." "It's done." "I'm finally going." "Sure, my parents don't want me to, but all in all..." "This is a shovel." "This tool is so ancient and yet nearer to us, to our culture..." " What do I do with this shovel?" "Nothing, you... get to know it, try to have rapport." "What are you doing?" "Move, animate it." "No, no hurry, like that..." "You're doing fine, doing fine." " You know even Emilio's getting married?" " Who?" " Emilio." " Who's Emilio?" "It's something I have yet to understand, a strange story of psychoanalysis, eroticism, semiotics." "Emilio and his wife read books together." "They read French magazines." "Happy..." " Shall I start?" " Go, go." "This whole scene is clearly a tribute to Marat-Sade." "Listen, I was thinking of something like this, by way of self-censorship." "Take those things off, don't fool around." " Creative input..." " Forget it." " A suggestion..." " Shall I go?" " Yes." "A billion grains." "Quiet." "I know, I know." "I don't have a sweet expression." "You're Catholic, that's what you are!" "A Catholic!" "She's even got a Volkswagen convertible!" "#We want to have a revolution, and you call this "provocation". #" " #Be-Be-Be, Berlinguer. #" " Enough!" "#Houses are taken, the rent is not paid. #" "#This is our house reform. #" " This is masturbation!" " But it's against masturbation!" "You see, you are a totally illiterate and yet, you managed to get something out of it." "In the midst of a heap of banality, of student stuff, of political apathy, you managed to get something, despite your coarseness, your evident lack of culture, because you are illiterate, talking among ourselves." "I appreciate the effort." "I appreciate the effort." "Do you appreciate this, too?" "What are you doing?" "You're always here checking up on me, almost..." "You're always... my alter ego." "I found a key to interpretation." "You could be..." "my alter ego." "Think it over, it's an interesting idea." "Hi, dad, listen... yeah, I'm fine." "So, will you leave me the usual monthly check of 200,000 Lire?" "Yes, as usual, sure." "Like every month." "Yes, okay, bye." "Say hello to everyone, bye." "Just in case someone asked themselves:" ""How does this guy live?", "Who supports him?"," ""He has a house but not a job"." "So we've cleared that up." "Seems clear." " "With all they pay for the phone"." " For electricity." "Well, think it over that thing about the alter ego, it seems like an interesting idea as a performance." "Eat dad's pudding." "Mmmh!" "It's so good!" "Dad's pudding is so good!" "How good this is!" "Eat for dad!" "Andrea, eat your pudding, it's so good!" "One." "Quiet!" "Where was I?" "We've lost the train of thought, we're fed up." "Soon everything will fall to pieces." "There'll be no more voice." "A drop of water on the head always beating on the same point." "Thank you, thank you." " I liked it, dear Rizzi." " Ghezzi." "I liked it because I managed to read it as a metaphor of the historic compromise." " You see, dear Pozzi..." " Fabio Ghezzi." "Even the central part, which is easier reading, would lend itself to being read as performance difficulty, amateurish, an improvisation, it turned out to be, instead, I'd say, well, how can I say..." ""If the body is not relaxed, Oedipus is not unfolded"." "A Deleuze-Guattari re-written by Fornari." "This uneasiness, that expresses itself in an atrocious detachment of bodies, in an infantile atrophy of gestures, it's a dialectical given:" "The body is unwell because it is healthy." "It's that kind of dialectical reading that's missing, if I may, even in our Marxist tradition." "Re-reading "Das Kapital", it seemed a bit kitsch." "But in my opinion, the problem is another one." "Why do you want to do theater?" "To get rich?" "To become famous?" "Because this medium of expression interests you." "Anyway, you'll do theater." "Because what you want to do at 20, you do in your life." "Well, really, 20 years old... 30, 35..." "What the heck!" "Do we always have to meet at Castel Sant'Angelo?" "Well, at least I see a bit of Rome." "I'd never see that woman again." "15 years later I found out that a friend had seen her near Modena." "There." " Hi." " Hi." " Where are we?" " In the theater." " Yeah, where are we?" "At what point?" " The chess game." "Take this, put it on." "Go on!" "Look, let's continue like this:" "Back and forth, no one notices anyway." "Fabio!" "I'm leaving, pulling out." "Bye." "No, it's all ready." "Hello, is Silvia there?" "Ah, she's out, I see." "Listen!" "Out in what sense?" "Ah, outside Rome. "Outside Rome" how?" "Huh?" "Yeah, sorry, bye." "Outside Rome." "Why would she go out there?" "Maybe she's in love?" "But how could she fall in love with someone other than me?" "That's a question..." "I don't know..." "They threw me out of the house." "Look, I'm sorry about that, Giuseppe, really sorry." "Because, you see, once I understood that he wasn't just a household object," "I grew fond of Andrea." "But this story with Silvia took him away from me." "Silvia..." "I understand her, Silvia." "Huh, how I understand her!" "Because, you see, in my opinion the separatism of women..." "Go on, go on." "The separatism of women, besides being just, is inevitable." "Damn, now..." "The one time I was so clear, concise..." "Wait." "Evidently it's not my style." "It was Fabio." "He says he wants to talk to us before the last performance." "Fabio didn't tell us that he lived in a commune." "No." "Right, that's why he called from pay phones." "Yeah..." " Well, no, communes have phones." " Yeah, they must have them." "Well yeah, they'd have them." " Hi." " Good afternoon." "I saw you were painting, there are some interesting things, some quite nice paintings." " Did you like them?" " Yeah, even Giuseppe here..." "But for us they are a means of reaching other things." "We're Buddhists." " Buddhists..." "Italians?" " Sure, Italian Buddhists." "Well done!" "Today's our last show and as a verification of our work we thought..." " No, we want to have a debate." " Not a debate!" "Yes, a debate in which the actors will also intervene." "Right now they're taking their make-up off." "Ours is perhaps not a very easy show." "It presents some symbolism." "Huh?" "Nothing, I thought there was someone who..." "I was saying, our show presents some symbolism." "In our opinion, it wasn't an easy job." "That is to say, not a job that can easily be" "studied in detail." "One of our intentions has been to try to break down the barrier that always separates the audience from the show," "the actors from the spectators, and I think we've succeeded." "We've succeeded in breaking it down." "Someone will have noted, perhaps, in the show's closing scene, some intentional provocation and which I think has left its mark." "From some audience reactions that we have been able to easily perceive..." "Links to reality?" "Certainly." "Indeed, our show, even though it's not a real show, is, however, a realistic show." "Sure, it's late, I know." "In any case, the audience opinion is essential, I believe," "for those who have chosen a business of this kind." "A tough business, that requires some..." "A business that requires some participation from the audience in order to..." " Will we make it in time?" " Yes." ""Enrichetta the Little Altar Girl"." "Paolo, that's enough!" "There's nothing on." " "Naughty Nun..."" " No, it's revolting." "Bye." " "Simona" is by Bataille, isn't it?" " No, he cut everything, no." " "The Blonde and the Black Pussycat."" " No." "Bye." "No, coming soon, but no films." ""Ring of Fire"." " It's a Western." " A Western?" " A Western." ""The Queen of the Pirates"." "Exceptional!" "I saw it a couple of years ago, really good." "Go see it." " Let's go together." " No, I've already seen it." "I'm going home." " Fabio, we're going." " All right." " Shall we help you clear up?" " No, I'll do it." " Do you have the keys?" " Yes." " Bye." " Bye." "Subtitles STUDIO ASCI" " Crema" " I AM SELF-SUFFICIENT "