"In Giulio Stasi’s Accidentes Gloriosos project, the drama by Mauro Andrizzi and Marcus Lindeen is transformed into the implementation of an episodic device which goes beyond the usual narrative and spatial barriers, and at the same time offers ways of relating closely with the audience members without giving up control of the scene."
Jury Prize "PREMIO ALLE ARTI SCENICHE TUTTOTEATRO.COM DANTE CAPPELLETTI"

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[...] The spectator is never a passive user of the show, but active subject, if not even a character of the story. In all the Accidentes not only the fourth wall is shoot down, but the others three too, together with the traditional idea of art as imitation of nature: there is no representation, in these works, rather a presentation of a reality, not always and not uniquely selected […] we would like to underline a virtue of Accidentes Gloriosos: a full cultural awareness shines through the clear legibility of the propositions, with clear debts to the Visual Arts world, from Andy Warhol to Frida Kahlo, to more hidden references: from the dots by Yayoi Kusama to the Bill Viola studies on immobility, or the famous Duchamp wheel. […] In a way it is true that Contemporary Art has accustomed us to hybrid and shaded expressions, but there is no doubt that Accidentes Gloriosos, a project able to involve some thousand people in just a few days, shows a great change, open-mindedness and overall great value of the new Teatro di Roma season (let’s not forget, that the theatre claims the noble and “heavy” title of “National Theatre”).

MICHELE PASCARELLA on ARTRIBUNE

 

[...] Stasi’s project faces the spectator in front of the need to undergo the unexpected and the reality together, to be suck down and subdue, overwhelmed and happy

[…] in one word the experience is: unforgettable

RENATA SAVO on SCENE CONTEMPORANEE

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[...] the Teatro India has been animated by an audience running from one side to the other one, willing to see all the seven Accidentes. This is the first and most important result: the Theatre breaks free from his solid self-referential habits and meets the city, by living it, crossing it, enriching it. […]

But, what are these Accidentes? They are cracks in our certainties […] Stasi inherits that fantastic-perturbing taste, which, from Kafka to Borges has characterized the best literature from the past Century: […] every time the single Accidente creates great expectations, fears, desire, curiosity […]

the job is extremely challenging, but it is undoubted that Stasi shows an happy, alive, sticky creativity […]

GIULIO SONNO on PAPERSTREET.IT

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[...] there is more life in one Accidente that in many Theatres

[…] in my last Accidente I receive a love letter, an original love letter written a long ago by someone who is not alive anymore. After all what is Theatre, if not this? Love.

NOEMI SERRACINI on THEPARALLELVISION.COM

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[...] A terrifying emotional amusement park 

[…] Giulio Stasi’s work is a slow and courageous journey towards the articulation of a language [...] making a violent impact on defenseless spectators, but done with the keen grace of research, the elegance of simplicity, and renouncing any winking shortcuts from the get-go.[...] within all this there is a sense of real emotions that are never purely emotional but always, always, always critical states of being. And all too often this urgency is underestimated.

SERGIO LO GATTO on TEATRO E CRITICA

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[...] Giulio Stasi makes the inner emotional space of his audience, the theatre where to stage his performances

[...] Stasi is the most open-minded, disruptive, interesting proposal of the entire Festival, moved by a work which shines for its clean execution and a surpisingly mature and elegant script. [...] An experience you will not understand untill you try it [...]

ALESSANDRO PAESANO on TEATRO.ORG