" Good evening, by chance you have seen, entering the theater, two people dressed in strange ways?, Ah no, no no ...! do not worry, I'm not playing, answer me as well ...! . It begins well, unusual and direct, the unusual narrator of Conrad Germans with the large audience of Municipal Moncalvo, on Monday evening March 14, he attended and participated very attentive and enjoyed the original actor's performance. And some viewers from the audience really responds and informs: 'A woman, there was a woman before ... she took the stage, then she's gone ... He, it's just past ... '. The 'it' and Roberta Petrozzi, in the role of the wife of 'Genge', stereotypes of women of the comedies of Pirandello. The man, Claude Monet, in the guise of 'character type' of the texts of the author. 
Throughout the first act of 'half-serious lessons for men with a flower in her mouth', the scene of the Notice in the fourth show of the season tickets of prose, the Germans with the natural ease of a chat between friends, has developed with these room, a dialogue Pirandello style and content: the reality in the theater, the theater inside and outside the scene, what you are and what the others appear, and groped desperately to feel and see themselves 'from outside' of themselves.
The actor called on stage to the crowd (when unexpected look at me, comes close, no, this can not be done ... I'm here I look at you, dear Corrado Tedeschi, Pirandello ports on stage, it is true, is the theater that becomes life, it is true, but do not choose me, then ... I'm here to write, you, the show - continues to move towards, down from the stage, always ringing words " here ... , you the public, are looking elsewhere, you pretend to nothing, trying to overturn, you kids, but not to be identified, selected, but it has nothing to go on stage terrible, proofs, ... I will interpret facial expressions ... surprise, astonishment, wonder, faces you do every day, off-stage in the life ... "and while it speaks closer and closer ..." She, for instance, Madame, is .... - turns to me ... I can not escape, I just say no? impossible, I go, I follow, I get on stage ( while I climb the ladder to the trap door in the stage I can also think Frank [my husband, who is sitting down in the audience] I will photograph? ) - coming up, you are well on stage - you get the impression that whatever nonsense you say or do you have an excuse.
I suggest a way to interpret an expression of 'sbigottimetimento unexpected' I follow his instructions, I make funny faces - and on - is gone - call other people from the audience, all they're doing wonderfully.
Then adventure in the stalls, talks with the lovely ladies creating 'the real' life situations of all 'Pirandello'.
Outstanding as linear, directed by Marco Rampoldi (its also the dynamic and articulate drama) beautifully played by Corrado Tedeschi. The first part of the show as a prologue is colloquial and together didactic in the second act, in which Germans and Claude Monet put stage 'The Man with the Flower in his mouth': that is how the application of the conditions Pirandello's theater of life expressed in the first half. 
Overall the show (see presentation) is smart, light, lively, smooth. Many cheers, high attention to public participation, to feel satisfied by the protagonist in some way of life that stands between the audience and stage. Exciting. 
