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'The apocalypse-pocket', if the end of the world is late to arrive

Class of 1996, graduated in philosophy, author, and interpreter of plays about the human condition in the contemporary world, Nicholas Fettarappa brings his Apo

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'The apocalypse-pocket', if the end of the world is late to arrive
Class of 1996, graduated in philosophy, author, and interpreter of plays about the human condition in the contemporary world, Nicholas Fettarappa brings his Apocalypse pocket, a one-act mock-heroic, which portrays the bleak end of the world, the Teatro dei Contrari, Rome (until 12 January), where already in 2018, made his debut with The colossus. In 2019, without notice to you, God appears in a supermarket on the outskirts of Rome and announces the end of the world. To listen there are a few people. To take it seriously, just a young man destined, from that moment, to be the prophet of the end times. Accompanied by an angel of the Revelation, the young apostle makes its way into the abyss of the city, to announce to the inhabitants their imminent end. But the project apocalyptic seems doomed to failure.

what is an apocalypse pocket?
More than a title, the Apocalypse paperback is a suggestion. Can be interpreted as the usual home-end of the sense that we live every day, or as the convenient place that you choose in the meantime, waiting for the end. And then, also, the compromise of everyday life, the betrayal of the promises of principle in exchange for the convenience of the fact.

How did the idea of this show?
The book of Revelation, that interests me and the affront from the theological point of view for years, it seems to me the narrative genre most appropriate for the purposes of a critique of the present. John wrote his Revelation with a political objective very clear: the Romans had invaded Jerusalem and were forcing the jews the religious cult of the emperor. He had to predict the end of the world, so that the jews were corrupt, you redimessero and return to worship the true God. In the same way, today, to project the world in which we live against the background of the end means to visit it one last time at a slow pace, stopping here and there to mourn or dannarlo. To live day to day by observing it from this perspective eschatological means ingigantirlo until it burst, repeat it back-illuminating the fractures.

In his previous work for the theatre - some correspondence suggests, and The principle Franti – has treated the topic of the prostration of the individual.
Franti, I presented a class dominated by the bleak sense of De Amicis. In some correspondence suggests, a humanity of larvae sbracata on the sofas, all dedicated to the penance of comfort, bent by a process of simplification and studied ad hoc by a political strategy. Apocalypse Pocket follows the same logic as the critics, by bringing out the idea of sleepwalking consciences. Has the ambition to want to criticize everything, everybody. And a single negative pole, a chasm. With Lorenzo Warriors, with me on stage, we bring on the scene the shopping centre, the world of work: the places so-called “integration”, an integration that takes place without residue, without signs of opposition on the part of“integrated”. What I'm interested in making is the sense of weakening that pervades everything, as in a slowed down digestion, this air hurting a little from his afternoon nap. In this atmosphere of a sanatorium, the sauna clinic, bodies listless, fades when too, the criticism, the opposition. We integrate because we relax. There decomponiamo because we have. But relaxation is a new form of martyrdom, we must abolish the relaxation.

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