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One must live with time and die with it


Production: 2020/2021
Genre: Dance theater | Music
Duration: 1h
Scene: Theater / Site specific / Circus tent

Artistic and technical staff on tour: 15 + 2



Victorian hall, table laden, covered with fruits
and objects, recalls a supper being in a distant
past. Even the warm but now bleached colours
suggest a past lingering in that room.
The Diner ghosts, a blended family of the
nineteenth-century bourgeoisie, live again in the
memories of the sole survivor, the butler.
The characters wander in the room while
embodying these memories telling through
various body language, music, dance, and
a bitter past that ties them to this house,
concurrently introducing who they are and
what relationships they had among them. The
butler, the main character, once again will
serve his former masters, guiding the audience
through the discovery of the eccentric family’s



Concept, direction and choreography
Lucrezia Maimone
Created whit and performed by
Alessio Rundeddu, Amedeo Podda, Gerardo
Gouveia, Elie Chateignier, Edoardo Sgambato,
Elisa Zedda, Francesca Assiero Brà, Elisa Vizioli,
Ivonne Bello, Elsa Paglietti, Lucia Angèle Paglietti,
Riccardo Atzori, Sara Vasarri, Sara Perra,
Silvia Bandini, Riccardo Serra.
Violin Elsa Paglietti
Lights design Tommaso Contu
Set design Lucrezia Maimone
Photography Federica Zedda
Production support of Tersicorea (Cagliari)

with the support of
MIC / Ministero della Cultura

locandina orizzontale.jpg

project notes

CLUE is the result of a corollary of national and international artistic encounters: the dance of the choreographer Lucrezia Maimone and the meeting with dancers, circus performers and musicians of the Gli Erranti collective, born in 2018 and whose roots date back to 2016 thanks to the project of artistic training "Travelling yards" of Tersicorea The group of performing artists, christened Gli Erranti for its peculiarity of traveling collective, is made up of artists from the Sardinian territory and from different countries, has the aim of creating itineraries suitable for  implement artistic training and access to paths of creation and innovative/poetic interaction.
CLUE is a creation capable of interweaving different artistic languages, dance theater, circus art, physical theater and live music.

a special thanks goes to Simonetta Pusceddu and Stefano Mazzotta for the trust placed in this project, to Edoardo Demontis for the precious artistic complicity, to Riccardo Serra for the affection and participation.


One must live with time and die with it


“For the writer, being catapulted for an hour into a world where the clamor of the body and the spirit speaks is a precious gift. In Clue one is seduced by completely alternative codes to the complex word. In my opinion, one of the most powerful scenes is based, for example, on the simple conflict between two minimal particles of saying which are however the essence of being free: the dualism between "yes/no", compliance or rebellion/rejection. But I don't want to extrapolate moments or individual examples from a show that has 15 actors on stage who are always on stage at the same time with hypnotizing rhythms that mix dance, music, theatre, circus and, of course, the clamor of bodies. The sensational in the asylums of the past were a kind of crazy, the most complicated to manage. This is why Clue has the surprising effect of the successful and precious alchemy of delicately handling the chaos of personalities, catapulting them onto the scene.
For an hour the spectator is dragged into a projection of the unconscious where he has infinite combinations in which to identify himself, nourished by a crazy spiral of scenic actions, gestures, carousels of movements, sounds, songs and noises. Making everything sensationally real and tangible is the energy of the actors who were able to contribute to "writing" each staging in an unrepeatable way because in the work of the director Lucrezia Maimone one perceives the natural (and rare) ability to prepare and not to arrange. Each stage brings out many "I" that multiplied by fifteen actors become a very enjoyable kaleidoscope of human entropy. On stage all these infinite fragments manage to explain the multiplicity in unity better than millions of words. Chaos has an astonishing harmony and if acceptance and the ability to welcome this chaotic nature of ours and adapt to its rhythm is lacking, any other attempt at recomposition based on an order oriented towards negation and exclusion would correspond to an unsustainable mutilation of our humanity. All in all, a sensational show. In whose vortex there isn't the time to choose how to get excited, whether to laugh, get worried or moved, overwhelmed by a table laden with such gargantuan mixes of emotions.

Andrew Melis


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