da Euripide

Honorable mention to dramaturgy – “5th Salvatore Quasimodo International Award”

Written and directed by Salvatore Cannova

With Luca Carbone, Martina Consolo, Silvia D’Anastasio,
Silvia Di Giovanna, Luciano Sergiomaria, Giorgia Indelicato, Clara Ingargiola
Scenes and costumes Salvatore Cannova
Luci Michele Ambrose
Original songs and music Salvatore Cannova (Ànà dùsdaimòn) e Emanuele Spatola (Menelao)
Original songs and music Salvatore Cannova (Ànà dùsdaimòn) e Emanuele Spatola (Menelao)
Assistant director Paolo Cannova
Sartorial adaptations and modifications Rosa Cammuca, Ninetta Litro
Production Soc. Agricola Eredi di Vaccaro C. srl, Company Fenice Teatri
with the sponsorship of Consolato Onorario della Repubblica dello Zambia in Sicilia


Troy is destroyed, men killed and women enslaved by Greek heroes. While waiting for the favorable wind that will set sail for the ships to return home, in front of the ruins of the city, the Torianas await the fulfillment of their destiny. Cassandra foresees her misfortune and that of her new master Agamemnon once they return to Greece. Helena, sentenced to death by Menelaus, tries in vain to save her life. And Andromache mourns the forced wedding with Neoptolemus, her son Achilles. The most tragic sentence comes shortly before departure. The Greek army, for fear of a future rebellion, imposes the death of the young Astianatte, son of Hector and Andromache: he will be thrown alive from the fortresses of Troy. After the funeral rites, the prisoners look at their homeland for the last time, an affiliated land, maternal only to lifeless children.

da Euripide


“Remove the blood from the veins and pour water in its place: then there will be no more wars.” – Lev tolstoj

The profound meaning of this tragedy is contained in the desire for supremacy that has always prevailed over reasonable cooperation. Condition that still today, unfortunately, shows no sign of changing and which perhaps, as Tolstoy suggests, will never change. War and death of civic sense, death of ratio, extinction of logos. For his part, the human being seems unable to do without it and continues undeterred in such barbarism that moves geographically constantly, without ever becoming extinct. The Torians have seen barbarism with their own eyes, they have lived it on their skin and they continue to experience it in front of their tents, in that plain. The remains of Toria, tangible signs of an end, sanction the beginning of the drama: that of those who remain and mourn their dead, that of those who have lost everything and cannot help but obey the orders of the victor. They are women who have seen their children, husbands, brothers die. Women slaves of male supremacy who have been denied any will, even that of male supremacy who has been denied any will, even that of keeping their hair as a sign of freedom and strength. I imagine a mourning camp where black dominates behind the last remaining white roses in destroyed meadows. I imagine Hecuba played by a man, as the drama of war affects every human being without any distinction. I imagine that the tragedy is veiled behind situations capable now of making us smile, now of making us reflect and that it explodes in the final awareness that each of us, however important we may feel, has a duty to act.

Salvatore Cannova