Post it

A neutral cubical volume, 5 by 5 metres.

A case made by black cloths. Four performers assailing the case through cuts and openings. The project is aimed at ‘revealing by concealing’ – it is a consciously perfomed funeral, an assembly line from production to packaging, to waste disposal.
A performance made up of giving and taking, packing, disposing of things and people.

Post-it takes place by getting away from the stage. Hence, moves, words, things are meaningful in themselves – it’s all broken down into smaller pieces within a system whereby body movements are confined by space, materials, and the will to escape.

Post-it is a far-away place where things fall into oblivion, where every possible End needs to be checked and seeked – when things are eaten away, a speech or a score wears out, in an absence presaging a comeback.



collective creation Sotterraneo
performers Sara Bonaventura, Iacopo Braca, Matteo Ceccarelli, Claudio Cirri
dramaturgy Daniele Villa
technical assistance Cleto Matteotti, Alessandro Ricciardelli, Marco Santambrogio
scenes realization Camilla Garofano, Giovanna Moroni

production Sotterraneo/Fies Factory One
co-production Centrale FIES
in collaboraton with Teatro della Limonaia
with the support of Teatro Studio di Scandicci – Scandicci Cultura


Post-it. An anatomical study of a disaster.
«A muffled explosion; pieces of meat thrown onto the stage and immediately cleared up with blood-curdling thoroughness; grotesque “don’t panic” messages broadcast by the mass media. It’s then time for recovering from a sudden death by reciting a list of tragic films, a handbook on funeral liturgies, a camouflage for loss. Within a series of unsettling sketches. the experimental theatre collective Teatro Sotterraneo’s Post-it plays with language and deals with the theme of insincere sympathy for sudden death. They speed up the sequence of scenes – metaphysical bits of nightmares, full of stereotypical tabloid news. The four performers – Sara Bonaventura, Iacopo Braca, Matteo Ceccarelli and Claudio Cirri – jump onto the stage through the slashed, black cloth cubical structure. Inside and out one sees a coordinated dangling of heads, limbs, upper body parts, as if in one of Belgian Michael Borremans’ paintings. An anatomical study of a disaster. Daniele Villa’s caustic wit shows a profound attention to the devalued mystery of death. The company’s work is worthy of praise for their rendering the last diagonal, elastic rites to extreme shock until the mortuary chapel disappears with an Anthony and the Johnsons’ tune in the background».

Rodolfo di Giammarco, La Repubblica

Post-it, cubed milkshake of daily news
«Cutting-edge theatre, coming out of the curtain cuts, hopping around playfully and mirroring itself in its doubles. Post-it is the highlight of Inequilibrio 07, Castiglioncello festival’s tenth edition, staged by Teatro Sotterraneo, a very young Florence-based theatre company. A bizarre on and off stage glance, an eccentric insight into what end means. Their collective group is made up of four performers and a playwright – a full-on revival of 70s collective groups. Post-it sees them play (as of now) altogether, in open order, crossing paths, a delightful mechanism, doing and undoing visions within a 5×5 black cube. The performers spit out a few words – shortened and quick as if writing a text, surreal as in cartoons or comics, indestructible even when an explosion occurs and entrails are being thrown onto the stage. No drama, we live in the real world: a little sweep around, a sprinkle of knowledge, technique and mass media lies – that’s what it takes to make the cube as black as ever. The ‘Sotterraneo’s (literally underground) move around cunningly like comic characters, yet look deeply disenchanted like grown-ups. The usual blah of declarations, the hot air of adverts – all whipped and pigeonholed into a hypothetical Post-it note, a heap of details summing up one’s life and its conclusion, taking turns for a funeral, the meaning of end questioned on the phone with someone random. What will be left of us? A picture of nothingness. Watch out, spectators, a dismal laughter will bury you».

Rossella Battisti, L’Unità

«Although signals have been there for a long time, what is striking is how fast a new theatre generation is irresistibly making its way: just a few years (considering the age of groups, not the age of their performers) divide this generation from the previous one but differences are huge.It is possible to define it a generation and not just a series of jumbled groups because of the similarities regarding a very recognisable, bare, catchy style, a common use of irony, an overt fidelity to the same models, Rodrigo García in first place. Post-it – the show Teatro Sotterraneo performed in the context of Fies Factory, the project supporting some young theatre groups promoted by the Drodesera festival – reveals the influence of the Argentinian artist not only in the pieces of meat thrown on the stage or in the list of tragically ending films, but also in the renounce to every trace of dramatical – convention: in their performance as in that by Babilonia Teatri – but with even more phlegm no space is left for an event to represent, for characters to be identified, for an effort to be interpreted. A neutral black fabric case with side cuts through which bodies and objects pass fills the empty scene; there are only four actors shaping a soft composition of intentionally, energetically basic actions: actors geometrically scour the space, they appear and disappear through its holes, they sometimes almost disjoint the human figure, they introduce small objects, a vacuum cleaner, a money-box. In some aspects, there isn’t a thread: it’s up to the audience, by connecting diffused impressions, to realize little by little that the leit motif is death. From the initial request of a minute of mourning for a dead friend, to the clever idea of calling by mobile an invisible interlocutor to have his definition of “end” on the speaker-phone, to the irresistible commemoration prompted by the corpse itself to a speaker that doesn’t understand well his words, death flutters in a mocking and dazed way. The show could end with the intense funeral rite when one of the actors is buried with his belongings under a cellophane sheet. That looked, however, far too emotional for authors: they coherently add a different conclusion, much colder and humbler. In my opinion, this very choice points out the personality and rigour of the group that starting from an apparent minimalism, from a playful essence, then manages to remove something again and again. This is the point in the kind of theatre being performed right now: erasing form, ousting every kind of aesthetic elaboration till the bare substance makes its own way to self impose».

Renato Palazzi,

Variations on the end – Post-it
«The young theatre collective company Teatro Sotterraneo, based in Florence, makes a thorough, original reflection on the meaning of end. The four skilled performers – actors would be a limited definition – constantly enter the slashed black cube with their arms and legs, hands and feet. They move around with perfect rhythm and synchrony, a dance combining the comic aspects of silent films and accuracy of micro-movement contemporary dance. Yet, the show is much more – the beginning is pretty much all about the body, but then the focus shifts onto surreal, funnily light social satire. Their aim is to unveil hypocrisy, the usual hot air and fashion hiding and sweetening today’s world, where the language of television and press conferences, modern and polite slang prevails. A feeble attempt is made at softening the inevitabile, tragic consequences of a hand grenade; the dead prompting the funeral oration to a clumsy speaker; an actor telling the endings of films and fairytales; a phone call made on stage. The common thread running within the show is the will to reveal the objective and end of what’s around us, with the certainty that everything is bound to end one day. Objects of all kinds are carefully wrapped up, unwrapped, used and eventually thrown away: wine bottles and a pencil, a t-shirt and a glass, even the man himself, wrapped up in cellophane and inexorably taken out of stage. A lively, ironic, fresh and clever show, a way in between comic sketches and witty satire».

Laura Bevione, Hystrio

«Young collective Teatro Sotterraneo’s Post-it is sheer delight for the audience’s wit and irony. The company, already awarded at Premio Scenario, bring here their outstanding freshness of interpretation, showing their high knowledge of theatre mechanisms. Narration – in its traditional meaning – doesn’t exist here. Aseptic slashed stage walls are continuously crossed by the four actors and turns out to be as important as what happens off stage. The common thread is the sense of end, analysed under different perspectives – the more it’s consumed, the better, in a world balanced between emptiness and fullness, unveiling and concealing. Irony pervades everything and everything is not meant to explain anything, yet the audience is inexplicably dragged into a really stimulating association game – amused and amusing theatre making».

Mario Bianchi,

Teatro Sotterraneo. A true collective group without hierarchies. It was formed in Florence and adopts a variety of communication techniques. No traditional narration. Lots of laughs.
«We saw them at the last edition of Short Formats in Milan and had fun. Lots of fun. Teatro Sotterraneo is a collective theatre group based in Florence and formed in 2004 by four performers and a playwright. Over the past years it stood out within research theatre circles for its original productions and research – they do not have a director and stress the importance on a shared approach. Their work is characterised by a melting pot of theatre, performing and visual arts, video art, play writing, design, videogames, music, pop culture. Post-it – the show the company is touring with throughout Italy – has a strikingly simple structure and strong communication power. It’s all set in a slashed black cube being entered in and out as if in a visual and verbal cut-up, a continuous implosion typical of a ‘final sketch’ – a deep analysis on the concept of entertainment. The result if an hour of continuous laughter – the reason lying in the stage cuts and the motto “revealing by concealing”, borrowed from Christo and Jeanne-Claude. They strike the spectator through cheerfulness and a relentless reflection on the state of representation, which is kept separated from narration. The group is part of Fies Factory One funding project, aimed at young research theatre companies which performed at Dro Festival. Go and see them – and have fun».

Carlo Orsini, Rolling Stone

A confused world in the era of text messages
«Post-it, that is communication in the era of the Internet and text messages, quick, random and disposable scraps of paper, memory of a broken reality, images not exhaustive but exhausting. Post-it is also the title of a show performed last night at Udine’s Palamostre for Teatro Contatto season by Teatro Sotterraneo, a young theatre company. The Florence-based theatre group adopt the means typical of contemporary research theatre, its myths and rites – an accumulation of self-reference images, spread out like pieces of a jigsaw puzzle never meant to fall into place, small cabaret sketched from today’s world whose meaning is not there to grasp (if there is any). […] Teatro Sotterraneo’s approach to theatre is remarkably original and unconventional, based on subtraction and decomposition – a motionless heap of gestures, words, movements, situations ruled by apparent randomness. Daily routine and today’s world are described through an insignificant ceremony of usualness hiding its absurd and grotesque nature. A quick, synthetic ceremony occurring according to logics and poetics – if there still is any – of Post-its and their elusive, a bit crazy, sick and confused world».

Mario Brandolin, Il Messaggero Veneto

Post-it: notes for a show
«An entertaining hour of contemporary ‘visual theatre’ to enjoy all in one gulp. A bite of humour in one moment, a message launched and wrenched right after, with no future reference or roots. The audience smile and clap. Post-it, cellophan metaphor of today’s disorientating, hiding world, rooted in transient postmodernism, is Teatro Sotterraneo experimental theatre company’s project staged at Limonaia Theatre in Sesto Fiorentino […]. Space is the great protagonist, black and limited by penetrable curtains, where moving bodies […] become means, language and volume of. the scene. The stage-box is an experimental incubator teeming with characters playing themselves as well as part of a unanimous chorus, hiding and coming out till the end, with no sign of a completion – half bodies, a leg, half arm, interrupted conversations. There’s a lot of objects on stage taking active part in the scenes, just as in Daniel Spoerri’s Arbeitstisch […]. Objects are wrapped up in paper and then unwrapped in a careless, calm removal session bordering on comic absurd. Everything is object of ridicule whilst maintenance work are going on on stage: funerals, entrails oozing on the floor, a list of film endings, adverts and mobile phones. Nothing seems to affect the young, still fairly inexperienced actors from Teatro Sotterraneo, who do a good job at getting visibility with this show. Reality is here again source of inspiration, with all its consumerism, use and abuse, squeezed till the last drop, embalmed to be resumed. The result is a series of spontaneous sketches where the word is optional. Even the vacuum-sealed ending sort of slips away over cellophane and its dead body. Apology of absence or of estrangement caused by it? Both».

Miriam Monteleone,

Meandering through the world of theatre
«At Primavera dei Teatri […] we watched an long-awaited-for light-hearted performance […] characterised by a surreal, playful geometric structure and put on stage by four young performers from Florence-based Teatro Sotterraneo».

Sara Chiappori, Diario 

«The King is dead, long live the King. Everything is bound to die because it is alive. It is a message full of hope, green and positive, fresh as the Fab Four plus one. Everything is bent, gets damaged, dirty, broken, ends, and is deflated. It is life which is death or death which would not be there without life. Or rather, death is paradoxically the ultimate end of life. The last word of the novel which still has a role in the book’s last page. Post-it is the last creation – neither a performance nor a pièce or a show – is an project put together by Teatro Sotterraneo, based on the tricky concept of end sprinkled with light, shrewd and soft irony. Contents and style are hard to handle. Florence-based collective company accurately manage to balance the rhythm, based on finely wrought and woven, yet always simple and direct structures. […] The text is trimmed with lace and appears almost transparent, tissue paper, never seeking for sympathy. There is matter, there is dream, an advert reminding of De Chirico’s metaphysics and a continuous subtle game between audience and actors – always on the slippery edge, always swinging between reality and disclosed deceit, between true deceitfulness and artificial truths. The stage is a cube slashed à la Fontana. It’s a transformation, in a rapid flow of full and empty, of inside and out, of coming in and going out through synchronized choreography, bits and pieces, heads and bodies, of splits and oversights. A political, frustanting play. There’s a funny, grotesque scene – reminder of Kinkaleri and some Sagna – where a man in the wings is blown into pieces by a hand grenade, sign of our time, tick-tack of modernity. Entrails – Iraq, Afghanistan or Palestine – are thrown onto the stage floor while death is disguised, around the corner, simple and clean, in a reassuringly bureaucratic-military way – a war-like, politically correct, convincing and equidistant soap opera. Also very funny is the sketch of a dead man prompting his funeral oration speaker, like a prompter from a prompt-box in the fiction of ritual representation. Everything is denial, everything is doomed to end – thus, to be continued».

Tommaso Chimenti,

«A great evening at the theatre, expected meetings, clever poetics, refined language, clever and ironic references, one different from the other but all showing the rigour and passion put in the work. Teatro Sotterraneo’s Post-it and Teodora Castellucci’s à elle vide were an exquisite kick-off for Teatro al Parco’s Aprilepiù festival, organised by Briciole/Solares. They are both projects/creations funded by Fies Factory One at Dro high-quality research theatre festival. I saw Post-it for the first time in Prato at the Contemporanea festival. The audience was near the stage, yet actors were able to keep the show together. The space is clearly delimited and features an amusing choreography, sparkled with witty quotations and signs of resignation to today’s world.  Post-it in its integrity […] shows an outstanding harmony in abstract actions, in the eye contacts, in the most ambiguous, dense, elusive passages and is marked by a peculiar poetics whereby taking the detachment typical of from a cheerful performance – a sort of abstraction, where there’s no giving in to pain, terrorist attacks, death – is matched by the awareness of today’s society. Pieces of meat thrown onto the stage after an explosion, a chinwag on the mobile with a friend, gathering memories of a deceased friend. Who’s dead, though? They take in turns to mourn their friend, then surprisingly one of the young actors – covered by a big transparent piece of plastic – and its things are being dragged off stage behind the black curtain. The randomness of life, meetings, going in and out of the stage through slashed black curtains, movements of time – are we then meant to just accept things how they come? Memories cannot even be held by pictures».

Valeria Ottolenghi, Il Gazzettino di Parma

Post-it makes for an hour of desecrating fun
«Wednesday night at Primavera dei Teatri 2mila7 a fresh and original dance theatre performance was staged. the young actors from Florence-based collective company Teatro Sotterraneo performed Post-it, an hour of sheer fun and a shower of witty, amusing sketches […]. The lights are up, a huge black empty cube on stage – Sara Bonaventura, Iacopo Braca, Matteo Ceccarelli, and Claudio Cirri frantically moving around. Irreverent, grotesque, peculiar Post-it is a clever, never-ending competition between actors and audience, reality and fiction, in a climax of rhytm and skills until the End. The black box is entered by bodies coming and going, way in between the real world and the unknown, and by lots of objects of all sort, which randomly become the stage. The box is filled up and emptied of today’s high-tech world; film endings told to the audience, mobiles chirping, in a big, visionary and surreal melting pot. Post-it is all and nothing, is a run, a movement from and to somewhere else – but where? To the End?  Yet, the End of everything is Death, often bursting onto the stage […]. it’s good fun watching the skilled collective group actors playing […]. running on and off stage, provocations and chaos, a lot of action and a few words, constructing and deconstructing – that is to say, a vacuum-sealed End, wrapped up in aseptic, huge cellophane. What else to say? Go and see the show, it’s worth every penny. A funny, outstanding performance, polished by Teatro Sotterraneo through clearness and linguistic accuracy».

Domenico Donato, Il quotidiano della Calabria


Post it




Teatro della Limonaia – Sesto Fiorentino (primo studio)
Prato Contemporanea ’07 – Prato (secondo studio)
Notte Bianca – S. Giovanni Valdarno (secondo studio)
Primavera dei Teatri – Castrovillari (anteprima)
Inequilibrio/Armunia – Castiglioncello (prima assoluta)
Italia Wave – Firenze
drodesera>Centrale Fies – Dro
Notte Bianca – Roma
Rialto Santambrogio – Roma
ZOOM festival/Teatro Studio – Scandicci
CRT – Milano
Teatro Filippini – Verona
Teatro Fabbricone – Prato
Teatro Comunale – Bagnone


Teatro Inverso – Brescia
CSS /Teatro Palamostre – Udine
Teatro delle Passioni – Modena
Teatro delle Briciole – Parma
OperaEstate Festival Veneto – Bassano
AMAT /Ars Amando – Amandola
SPAM!/Teatro dei Rassicurati – Montecarlo
La Piccionaia/ Teatro Astra– Vicenza


PiM Spazio Scenico – Milano
Teatro Everest – Firenze
Sipario Aperto/FTS/Teatro Nazionale – Quarrata
AMAT/ Teatro Rossini – Pesaro
Nobodaddy/Teatro Rasi – Ravenna
Teatro Palladium – Roma
Prospettiva09/Teatro Stabile/Cavallerizza Reale – Torino
Marosi di Mutezza/Teatro Civico – Sassari


Tra palco e realtà/Oda Teatro – Foggia
Fondazione Toscana Spettacolo/Teatro degli Unanimi – Arcidosso
Fondazione Toscana Spettacolo/Teatro dei Rassicurati – Montecarlo
Arti vive habitat/Nuovo Cinema Teatro Italia – Soliera
Centro Culturale Il Funaro – Pistoia
Cinema Teatro Erios – Vigliano Biellese
Teatro San Martino – Bologna
Teatro Mattarello – Arzignano


Teatro Comunale – Occhiobello
Amo La Mole/Teatro Studio – Ancona


Teatro Portland – Trento
Centro Parraga – Murcia


Teatro della Tosse – Genova


Teatro Studio – Scandicci

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