Vito Savalli

In Gibellina, in deep Sicily, the sumptuous staging, by Yannis Kokkos, of Oresteïa by Iannis Xenakis, after Aeschylus.

Milan, like Paris or Stuttgart, and like many other European cities, is the theater of the drama of immigration. Demba reconstructs his story and that of his brother Yaro, both Senegalese immigrants in Italy, in a long and fragmentary flashback that begins with Yaro’s murder and recounts their departure from the village, arrival in Europe, the work they find selling lighters and picking tomatoes in the south of Italy: the stages every “non-EEC citizen” goes through in Italy.