Molly Sweeney

di Brian Friel


regia di Lev Dodin

scene di David Borovsky

traduzione russa di Mikhail Stronin

traduzione italiana di E Ambrosini - M. Raffaele - E. Brock

 assistente alla regia Oleg Dmitriev

disegno luci di Oleg Kozlov

disegno suono di Elena Lapina, Vladimir Troian

direttore tecnico Nikolai Mourmanov


personaggi e interpreti

Molly Sweeney Tatiana Chestakova

Frank Sweeney Serghei Kourichev, Arkadii Koval,

Mr Rice Petr Semak, Alexei Devotchenko


capo macchinista

Evgeniy Nikiforov

tecnici di palcoscenico

Mikhail Andreev, Sergei Ivanov, Nikolai Kozliakov, Viktor Senin


Vitali Skorodumov, Ekaterina Dorofeeva

tecnico audio

Alla Tikhomirova


Irina Tsvetkova, Maria Fornina, Galina Ivanova


Julia Zverlina, Viktor Gorodkov


Galina Varukhina

direttore di scena

Olga Dazidenko


Una produzione di


Teatro d'Europa con il supporto di KIRISHINEFTEORGSINTEZ

in collaborazione con Change Performing Arts Milano


Versione russa con sottotitoli in italiano e inglese



Molly Sweeney has been blind since infancy. During her mothers long stays in hospital, her father patiently teaches her to recognize by touch every flower; shrub and tree In their garden
Gradually Molly overcomes her handicap, sets up house on her own and begins to work as a physiotherapist. In a health club
At the age of forty she meets and marries Frank, who is unemployed, self-taught and subject to unpredictable passions He persuades Molly despite her reluctance, to go to Mr Rice, in the past a brilliant ophthalmologist though now on the wane, in the hope that he will restore her sight, which she has learnt to manage without
Rice performs an operation. For some time her sight is partially restored. Denis Diderot wrote "Learning to see is not like learning another language, but like learning a language for the first time "
For Molly -and certainly also for Frank and Rice -this learning process has terrible consequences
Molly Sweeney was first staged at the Gate Theatre, Dublin, and directed by Brian Friel, on 9 August 1994


Nota di Regia

Love mixed with cynicism, idealism alternating with a lack of faith, the possibility of looking and the inability to see, the path to eternal damnation paved with good intentions.
What does man do with his own nature? What does nature do with him? Brian Friel's play is full of life and in it life flows like the blood that flowed in Greek tragedy

Lev Dodin



Brian Friel

Brian Friel, a major Irish playwright, was born in Omagh, County Tyrone (Ireland) in 1929 He taught in various schools from 1950 onwards, before becoming a fulltime writer in 1960.
He has been a member of the Irish Academy of Letters since 1983 and has been awarded an honorary D. Litt. by the National University of Ireland and by Queen's University, Belfast.
He is married with five children and currently lives in Donegal.
Since his literary debut in 1965 with Philadelphia Here I Come!, Friel has written over twenty plays including The Loves of Cass McGuire (1967); Lovers (1968); Crystal and Fox (1970); Volunteers (1975); Aristocrats (1979); Faith Healer (1979); Translations (1981); Three Sisters (1981), his translation of Chekhov's play; The Communication Cord (1983); Fathers and Sons (1987); Making History (1988); A Month in the Country (1990), his adaptation of Turgenev's play; Dancing at Lughnasa (1990), on which Pat O'Connor's film is based; The London Vertigo (1991); Wonderful Tennessee (1993); Give Me your Answet; Do! (1997)

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