Antonio Latella
Born in Castellammare di Stabia near Naples in 1967. Trained as an actor at the Teatro Stabile in Turin and La Bottega Teatrale in Florence. Has lived in Berlin since 2004. 2010/2011 Artistic Director of Nuovo Teatro Nuovo in Naples. 2011 Founded the production company stabilemobile compagnia Antonio Latella. His productions include; «Querelle» after Jean Genet (2002, Nuovo Teatro Nuovo, Naples); «Porcile» after Pier Paolo Pasolini (2003, Young Directors Project, Salzburg Festival); «Orfeo ed Euridice » by Christoph Willibald Gluck (2004, Teatro Piccinni, Bari); «Tosca» by Giacomo Puccini (2005, Sferisterio Opera Festival, Macerata); «Summer Holiday Trilogy» by Carlo Goldoni (2008, Schauspiel Köln); «The Words Grow Wild in my Head. A Triptych» based on texts by Josef Winkler (2009, Vienna Schauspielhaus / Wiener Festwochen); «The Night Just Before The Forests» by Bernard-Marie Koltès (2011, Berliner Festspiele); «Electra – Orestes – Iphigenia on Tauris» after Euripides (2012), «Peer Gynt» by Henrik Ibsen (2014, both Paradise Theatre Festival, Novosibirsk, Russia); «The Kindly Ones» after Jonathan Litell (2013, Vienna Schauspielhaus); «Oedipus» after Sophocles (2015), «Caligula» by Albert Camus (2016, both Theater Basel); «Ti regalo la mia morte, Veronika» after Rainer Werner Fassbinder (2015, Teatro Storchi, Modena); «La Cenerentola» by Gioachino Rossini (2017, Theater Basel). Latella has been Artistic Director of the Venice Biennale’s Theatre Programme since 2017. He made his debut at the Residenztheater with the production «A Divine Comedy. Dante < > Pasolini» (2019).
Productions
After «The Three Musketeers», who continue to gallop across the Residenztheater stage, the Italian director Antonio Latella and his co-writer and dramaturg Federico Bellini now tackle the second great classic about famous swordsmen. They take Rostand’s play as the starting point for research into the nature of theatre and love, in which instead of the more than fifty characters presented in the original, only two performers stand on stage. The two men now have to tell the story without the object of their desires and have no muse to inspire their verses.
Cyrano de Bergerac
The Three Musketeers, of whom there are actually four, appear and think about their loneliness. Can their famous slogan «One for all and all for one» be explained mathematically? Who is «the one» here? And who are «all»? They transform themselves into their own servants and horses and reconstruct Dumas’s story – and above all they question it. The musketeers are fighting for their lives and the actors are acting as if their lives depend on it.
Die drei Musketiere (The three musketeers)