Written and directed by: Clemente Tafuri, David Beronio

With: Luca Donatiello, Francesca Melis, Alessandro Romi, Felice Siciliano

Production: Teatro Akropolis, 2016

Morte di Zarathustra (Death of Zarathustra) is part of a research on the birth of Tragedy, inspired by Nietzsche and his discoveries on the dithyrambic chorus, the extraordinary experience at the origin of the classic tragedy which has preserved very few traces. But it is precisely from this original, remote and mysterious experience that it is possible to imagine a different sense for the body and its presence. The myth presents itself in its most essential nature, it arises from the action itself, it flashes as a little story that soon vanishes, before it even becomes recognizable, even before the viewer can assimilate it to what it knows. The such defined image is offered to the public as something that it feels intimately, like a vision. The figures that come in Morte di Zarathustra are familiar and strange at the same time, protean-looking. They don’t appeal to the personal memory of the public, but to his mythical memory, to the shared bottom of the conscience of everyone. And the sentence of Nietzsche is what remains of this dark dream, not a thought but, once again, an image of the world.

The work conducted by Teatro Akropolis on these materials has created several fields of study, making a large project that includes a number of publications and the activities of a research group for actors. Morte di Zarathustra is the outcome on the scene of this project.


“In the bodies […], scenography, landscape of distorting violence, images start to live and in their movement they crumble. Words do not speak, muscles do it, able to tap into a knowledge that even the poet or philosopher cannot possess entirely. Thus, the figures, that come familiar and strange at the same time, don’t appeal to our private memory, but at the bottom of the shared conscience of everyone, that is the myth, presented in Morte di Zarathustra in its most essential nature: the action, a gleam that soon wears off, and free space for music and noise, light and shadow. […] an exploration conducted with vitality, inventiveness and sense on the dis-measure of actorial ability, in that galaxy of knowledge which Teatro Akropolis is.”

Matteo Brighenti – Doppiozero

“Mythical memory, as playwrights define it, a root that creates and produces and whose present fruits are so far that they seem to be stranger, a fund of will and strength that, against all time and all history’s spirits, makes us who we are at the bottom. For Beronio and Tafuri the theatre is the place of this statement, of this re-assertion that ultimately produces the word and its authentic narration, into a spontaneity that tries to escape from the approximations, following a lesson very contemporary, with few but very clear fathers, from Nietzsche to Fersen, through Grotowski and Artaud, that went through this dramaturgy in his repeated beeing.”

Maria Dolores Pesce –

“The movements on stage are particularly well-finished, close to the limit of the choral. It’s clear that they incorporate a rich and fertile symbolism, which is never insisted and remains in memory. […] The result is […] a rich outcome, a fruition appropriate to consider the space of theatrical action in a dimension that, in recent years, has found few accurate investigations. […] Images that have to do with the unconscious dream and that force the viewer to a conceptual leap that science now much better explains by the mirror neuron theory: seeing the Dionysian rite equates to participate, to implement the Dionysian rite. And this thing, fascinating and horrendous together, can only open patches of study and research really formidable.”

Renzo Francabandera – Krapp’s Last Post

“There are bodies in their accuracy and imperfection, the immediacy of a speech alternating eros and its ontological sublimation, but, in fact, you could forget the Nietzschean ideas to find anyway something original and primal in the physical theatre of Clemente Tafuri and David Beronio.”

Andrea Pocosgnich – Teatro e Critica

“It ‘just a beginning, what we see in Morte di Zarathustra: the drama is literally secreted from the darkness. Agonizing laments and vigorous blows on the floor of the young and magnetic Alessandro Romi, which are followed by a fierce dithyrambic chorus presented (and not represented, according to a principle that projects work in a milieu not contemporary at all) by four strict actors that are intertwined in a dense series of cohesive and expressive choreographic scores (lines, actions and reactions, imbalances withheld) that remember certain Grotowski’s motifs: “Tu es le fils de quelqu’un ‘, would say the Master.”

Michele Pascarella – Hystrio


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