(La Repubblica – CULT – Rodolfo Di Giammarco)
And in terms of mystery and trance had in our archaic south, “Ammaliata” by Giuseppe Bonifati.
He arranges with the theater group Divano Occidentale Orientale a ritual of benign parche (men) who grub up the evil eye from a girl, in a mini-masterpiece made by sense of sound.
(La Repubblica, Rome – Rodolfo Di Giammarco)
Ammaliata “Bewitched” is (…) a show of deep anthropological research composed and directed by Giuseppe Bonifati, for the theater group Divano Occidentale Orientale. It’s a research, a complaint, a write poetry, a nostalgia, a vitality!
(La Repubblica, Milan – Sara Chiappori)
The mystery of the mystical charm, the folk traditions most archaic suspended between sacred and profane, the songs, the superstitious imagery and symbolism of a religion that has its roots in an almost pagan spirituality. There’s all this in Ammaliata.
(Delteatro.it – Andrea Porcheddu)
Powerful and mighty “magare”, wise, they put together popular beliefs and ancient mysteries, religion and desecration. The evil eye, then, is the symbol of the symptom of a Catholic and backward society. Its to the magic that Ammaliata looks for.
(Krapp’s Last Post – Simone Pacini)
(…) Traditional chants and litanies become hip hop, through the rhythm of drums and congas. But if the sounds are mixed, the songs remain popular, and it is in these songs that the show finds its originality and its cruel delicacy, of a poetic insight into the South.
CALA ´A SAUDAGE
(Teatro.org – Alessandro Paesano)
Luigi Tabita and Giuseppe L. Bonifati are very good and generous in giving body and voice to two homosexuals transfigured by the neapolitan tradition of femminiello , expression of a world that is the grotesque lives of two outcasts and marginalized, as the pièce leads one to believe at the beginning. But then we discover two murderous and abnormal reversed (half men and half women) .
(Persinsala.it – Claudio Vettraino)
A black and void stage filled by the inexhaustible richness of expression of the dialectic body-gesture as part-whole – typical of the dramaturgy of Bonifati- and acquired in the interpretation of Tabita. An interior and flashing light is there and it indicates the precarious presence and the slow, inevitable consumption of Costanzo. The narration, almost a fairytale, is made by the accordion of Francesca Palombo (which evokes so well the melancholy and impossible happiness, like in a “late summer” of Fellini’s memoria)
(Saltinaria.it – Andrea Cova)
The two actors face this test of acting, that never fall in the caricature, with great generosity and capacity of internalization of the experience of these two simple souls, outcasts and passionate, that is really touching for the acting technical mastery and for depth of feelings.
PEPE´ EL BASTARDO IMPAZIENTE E INNAMORATO
(Teatro e Critica – Simone Nebbia)
The text chooses the language of the heart to tell a story that is away; and to do so, it chooses the language closest to him. And is for this reason that the music and the drama are in continuous dialogue and are inseparable: in some intimate languages, when used well, words and music are the same thing. Bonifati builds his story with sincerity of expression and quality of energy (…) the show is yet alive and intense, with some retro taste which is not bad for this passionate story of love and – as like often – of knife.
MAIDEN IN COSTA RICA
(Andres Saenz Lara – La Nacion, Costa Rica)
The empty stage, illuminated only by the light source of a bulb hanging from a rope, turned out to be an impressive setting. The light has taken different forms and was manipulated by the actors in a surprising way. (…) The movements in space and the body expression supported the kinesthetic and visual interest for the all duration of the show. (…) However, the essential meaning of Maiden in Costa Rica has remained opaque to me, though, judging by the warm applause at the end, maybe the public has perceived that the most critical.
(Emilio Nigro – Quotidiano di Calabria, Italy)
Maiden in Costa Rica was awarded in Warsaw at Puppet is a Human too Festival for the “brave attempt to experiment in the context of visual theater (…) In January, the performance will be set up at Odin Teatret in Denmark. With Alberto M. Guinaldo and Paula Sancho Fernandez, itsthe result of an international co-production. It stages the disappointments of Greta in a country without army for more than 50 years, who dreams of becoming a woman-soldier. A dream (…) that jealously guards as her virginity.
(Manuela Vacca – L’Unione Sarda)
A little further back in the dressing room of a luxury clothing store, Giuseppe L. Bonifati kidnaps one up to four viewers at a time, for the performance “Devodirtiunacosa.” In essence, a fascinating and ever-changing trip.
(Enrico Pau – Nuova Sardegna)
Giuseppe L. Bonifati brings his spectators inside a bathroom, a small temple of a sensual Hello Kitty that forces to the dance, in his pink panties. He brings the spectator into a sensual kitsch that is reflected in the music and through the actor’s voice conveys a visionary and imaginative south from town fair, fairground of other times, the fat lady cave, a place of damnation and salvation. In what it remains of the aesthetic, as Pasolini said, “shadow of the past” the place of memory.
(Kristian Husten – Politiken. Ibyen, Denmark)
Crisis Is Good. The chosen performance groups this year at QuongaFest are apparently preoccupied, in different ways, about the present time crisis (…) Only one artist, the italian Giuseppe L. Bonifati, thematises the crisis directly. His toiletperformance „ivesomethingtotellyou“ deals fairy simply about the importance of failing and being in crisis. Bonifati also comes from Italy- that seems to have reached the ground well and deeply.
(Louis Bull Nivang – Jyllands Posten, Denmark)
This year Quonga Fest, which ended yesterday, gave a particular theater program bringing people into a toilet. The man with this idea of an unconventional stage space is the Italian Giuseppe Bonifati. The performer is currently associated with Odin Teatret in Holstebro. (…) In performances of 5 minutes he invited the audience into the toilet for a short and intimate performance that has break down the traditional boundaries between audience and actor.
(Sara Porskrog – Over Spring.dk )
The queue for the toilet was long and the show popular (…) But in a split second I saw one of audiences were torn into the toilet of a funny guy in a pink tricot. And later I met different audiences, who said that “the performance changed their lives”.
(Richard Petiffer – Theaterstuck)
There will be those who find IVETOTELLUSOMETHING a cruel trick. But if it’s cruel, it’s cruel like life – offering and taking away at the same time, filled with brevity, with transience, and with illusion. At best, though, there is an opportunity here for personal transformation, even a broader change, and a window to a different reality.
THE LAST BLOW
(Francesca De Sanctis-L’Unità)
It ‘s interesting the writing of this young playwright, who likes to take his times, his right breaks, for then give to the carachter a dry and concise sentence, everything that has to say (…) I mean, maybe we should write down the name of Giuseppe L. Bonifati in agenda and to see what he does in the theaters.
QUI-ES-TU? TU ME TUES
(Sergio Lo Gatto – Teatro e Critica)
About the adventures of the ‘group of performing arts “DOO” often comes news here in the redaction. Co-founded in 2010 by Giuseppe L. Bonifati, the award-winning company is now run with Fabio Pappacena and Alberto M. Guinaldo. Cleo is the name given to this first step and also to the goldfish in the bowl, which “acts” on the stage, brought to life by a voice off (by the same director). The body on stage is of Alberto Guinaldo, friendly, casual and stronger of a solid presence; half of the performance he lights the scene by a LED lamp pocket, involving the audience in a compelling scene of hysteria, tormented by a unseen voice that forces him to an irritant treasure hunt. The fish that occurs is his lost brother; the voice stops and the dialogue continues, mute, through the electronic page projected on the backdrop. The visual ideas are interesting, the rhytm of bodies and scenic resources in perfect balance.
(Renata Savo – Scene Contemporanee)
The action lis based on a delicate sound score of the piano and reminds us of some silent films, but because of its convergence to use multiple languages, music, dance, theatre, we could compare it also to the genre of melodrama, featuring strong capacity of expression. The performance investigates the thin line what separates good from evil, and in what lies the issue to be brought to the surface by the performance, which plot is based on the seduction of the priest by young and presumably innocent girls. The cours of the event will disarm the audience´s judgment, eyewitness of a rite, an unexpected erotic dance (given by the young age and the apparent naivety of the girls).
ABOVE THE SKIN
(Julie Delem – Naja21)
Giuseppe L. Bonifati is the artist who hides behind the performance Above the Skin, realised during an artisic residence at the Cité internationale de Paris. Armed with a second skin suit, he conducts an urban artistic action raised from the “need to meet, naked and at the same time covered by a second skin”.
KUNSTPARTIET / THE ART PARTY
MAYOR IN RESIDENCE
(Sebastian Stryhn Kjeldtoft – Information)
Art is not to understand but to be felt. In Holstebro, two performance artists established the Art Party, with tomatoes and total theatre in order to conquer the post of the mayor in 2017 (…). So here it is jubilant Jeppe in sprint, back and forth and sometimes between the approximately 40 spectators who turned up at Bomhuset, Holstebro’s smallest house, to celebrate its inauguration as head quarter of Art Party. The 223 years old, 32 square meters building used to be a toll house and then Denmark’s only museum for Miniature Art, but now it is filled by the small Italian overflowing with total theater.