I Am God
And I don't want to heal

directed by Claudio Misculin
drama of
Claudio Misculin e Francesca Hagelskamp
Claudio Misculin, Gabriele Palmano, Dario Kuzma, Donatella Di Gilio, Giuseppe Feminiano, Giuseppe Denti, David Murcia Gonzalez
based on
Nietzsche, Gregg Braden, Céline, A. Pianca

organization and project manager Cinzia Quintiliani
international organization and project management team Carmen Palumbo e Pamela Fussi
production Accademia della Follia
with the support of Dipartimento di Salute Mentale di Trieste
pubblic funding from Regione Emilia Romagna, Provincia di Rimini

info Pamela Fussi

Narrative layout
A madman (not a sick person) goes bonkers. Due to a crisis he is admitted to a residential care home managed by a mental health center.
He spends there a few days (enough time to get back in shape) and then he takes off, until next institutionalization.

Performance’s meaning or ideal subject
Beyond the rhetoric that wants our meaning to be our own bodies, which, in our case, is totally true, there are intellectuals meanings that we care a lot for and that we express through a logical verbal language, approximately the English language.
These meanings are:
1 The difference between madness and illness, between mad and ill person. Our 35 year experience working with madness and institutions helped us to shape our opinion.
2 There is a superior energy web we are made of that we cannot see and get in touch with because of our communication’s limit, due to the limit of our consciousness. Anyway this other dimension does exist and madness
could be a viaticum. Gregg Braden helps us with this (2nd scene).
3 Health service malfunctions. Thirty and more years after Act 180, it’s not anymore about knocking down walls of blood and cruelty: the giant rooms with eighty naked patients that roll in their own excrement and that...well they don’t exist anymore. Nowadays the problem is not to exceed with help, support and opportunities. Nietzsche helps with all of this. 12th scene:
“I will tell you once and for all: the biggest human disease comes from the battle against diseases. It is because of the many ways of consolation that life was given the contemporary shape of suffering”.

The mad madman (Misculin), the psychologist (Chiarli),the psychiatrist (Donatella), the cook (Ana), ill madman n. 1 (Pino), ill madman n. 2 (Skoda), the junkie (Beppe), Madness (David).

Technical expressive code
Our working method is based on physical introspection. The body itself is again the starting point of this show. Our bodies, good or bad, are exceptional: Dario, beside his agility, weighs 160 kg.; Charli’s bone structure is really impressionist, etc.

Technical code

Acrobatics and small acrobatics
Songs and vocalism
Dance and choreography
Prose (English)
Scenography (none)…
…all of this for a precise and clear strategy of theatrical economics. This allowed us to be a lot more agile and less expensive travelling around. This also meets another ideal root of our working method: “poverty of means that highlights the ‘naked’ bodies.” (from Grotowski)
Setting: everything happens in a bedroom/ living-room in a flat managed by Mental Health Services.

Technical requirements

• 3 beds (the uglier the better)
and 3 matrasses
• 3 chairs
• Minimum stage size 8x8 mt
• Lights: 40 x1000w spotlights
• Audio Amplifier, CD reader

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