Teatro dei Pupi
May 28, 5 p.m.

Compagnia Figli d’Arte Cuticchio

L’infanzia di Orlando
Orlando’s childhood

Puppet show – suitable for children aged 6 to 10 – duration 60 minutes – Only in Italian

The myth of the great hero Orlando is not limited to his adulthood, when, as the foremost paladin of Charlemagne, he performed the most extraordinary deeds. Legend has it that from a very young age, despite the painful separation from his father Milone, he showed what he was made of. Berta, Orlando’s mother and sister of Charlemagne, having been banned from Christian territory following her love affair with Milone of Anglante, fears that her son might reveal his origins to someone. But little Orlando is lively and curious, so he travels to the town of Sutri and soon makes friends with a group of young commoners who invite him to join a jousting tournament, where he will have the chance to stand out.
Fate has it that after his coronation in Rome, Charlemagne stops for a few days in the town of Sutri. Little Orlando doesn’t miss the chance and cleverly sneaks into the palace. Charlemagne, impressed by his cleverness, has him followed by two of his paladins who discover the truth. Charlemagne meets his sister and his nephew Orlando, and they all leave for Paris.

The Compagnia Figli d’Arte Cuticchio was founded in 1971 under the guidance of Mimmo Cuticchio, who established the Teatro di Via Bara all’Olivella on July 28, 1973. The recovery of traditional puppet and storytelling techniques, research, and experimentation are the main areas of work for the Company, which in 1977 established itself as an Association to carry out, in addition to productions, projects for cultural promotion and dissemination: exhibitions, workshops, and the puppet theater and storytelling festival “La Macchina dei Sogni,” now in its 41st edition. Since 2007, the complete heritage of puppets, backdrops, scripts, scenic machines, cylinder plans, has become a museum open to the public. It is a museum in motion, developing in the places where the company works, builds puppets, and represents traditional and newly created stories. In addition to the theater and workshop, there is a constantly updated archive. In 2013, the Ministry of Cultural Heritage, upon the proposal of the Archival Superintendence for Sicily, declared Mimmo Cuticchio’s Archive to be “of particularly important historical interest.”

Politeama Garibaldi, Sala degli Specchi
May 29, 11 a.m.

Compagnia Marionette Grilli (Torino)

Gianduja e la corona del Re
Gianduja and the King’s Crown

Puppet farce for puppets and a puppeteer – Only in Italian
Suitable for all audiences, duration 50 minutes

In our childhood games, we were all creators and animators of worlds. Fantastic worlds, sometimes terrible and frightening, but always more real than reality itself. We multiplied into a hundred characters, and still it was not enough. This is precisely the work of the puppeteer. Every puppeteer expresses, in their own booth, the absolute concentration of the child. Their fantastic world sees them engaged as actor, technician, janitor, sound effects artist, animator, audience, critic, musician…
“Gianduja and the King’s Crown” is a solo puppeteer show, a monologue with multiple voices that engages the audience in sound games and gags, inviting them to interact with the characters. It is a show that brings to the stage the tradition of puppet theater – where voice, action, and rhythm are the main ingredients – renewing it with the new languages of the contemporary.
The curtain opens on King Umberto I, known as the “King of Turin”, who enters shouting like a desperate man: “Who stole my crown”? Brighella, the faithful servant, advises the King to send the guards to search for the crown in the houses of the people, both in Turin and in the province. The guards search everywhere, even pushing as far as Callianetto, a small village near Asti where the cheerful peasant Gianduja lives with his sweet wife Giacometta.
Gianduja, returning from the woods, finds the crown under a tree and decides to take it home, unaware of everything. Giacometta, worried, invites Gianduja to return the crown to where he found it, but Gianduja, tired, prefers to go to sleep. The neighboring farmer, Giovanni Pautasso, has overheard everything and with the idea of pocketing the reward, rushes to inform the guards. They arrest Gianduja on charges of high treason and take him to the prisons of Turin.
Will Gianduja manage to prove his innocence and avoid the gallows?

The Compagnia Marionette Grilli was founded in 1978 by Augusto Grilli, a collector, along with his wife Mariarosa, of a heritage of approximately 26,000 pieces including marionettes, puppets, puppets, shadows, theaters, sets, furnishings and props, books, scripts, from all over the world, ranging from the 1700s to the present day. The strength of the Company lies in the rediscovery of the 19th-century puppet Gianduja, protagonist of shows based on ancient scripts, which are presented in Turin and on tour. Since 1990, the Company has operated at Alfateatro, directed by their son Marco, who has followed his father since he was a boy and has collaborated with prestigious theatrical structures in the area. In February 2024, the Marionette Grilli Foundation was established with the aim of preserving and enhancing the collection.

Politeama Garibaldi, Sala degli Specchi
May 29, 5 p.m.

Terzostudio / Italo Pecoretti (San Miniato – PI)

Transylvania Circus

Tabletop Marionettes and Actor – suitable for all audiences, duration 45 minutes – Only in Italian

Mysterious and strange creatures make up the company of the Transylvania Circus. Dragon-men who breathe fire, ghost-acrobats, a melancholic werewolf capable of walking in balance on the moon, and then she, the star of the show, the fascinating woman-vampire, who performs the art of transformation. During the show, a sinister sound distracts the artists of this dark circus: it’s the beating of a heart. No one can explain where that heartbeat comes from: perhaps love is capable of awakening even the hearts of lifeless creatures like them? Or maybe that beat comes from the audience?
Fear not, ladies and gentlemen, the artists of the Transylvania Circus are anything but dangerous, and if your heart beats, it certainly won’t be from fear!

Italo Pecoretti
Italo Pecoretti’s theatrical experience began in 1997. Actor, musician, director, puppeteer, cultural animator, he finds his ideal expression in Puppet Theater. A student of Alessandro Gigli, he began his solo journey in 1998 with the puppet show “Di Pinocchio l’avventura” directed by Gigli, with whom he maintains a constant collaboration both in organizing the “Mercantia” Festival and in some shows as a musician and actor.
Since 1998, he has been producing his shows with Terzostudio; he has nine productions to his credit, with which he has toured theaters and festivals throughout Italy. With Transylvania Circus, Pecoretti has participated in several international puppet theater festivals, the latest being the IZMIR International Puppet Festival in Izmir, Turkey.
In 2015, he received the “Ai bravi Burattinai” XXV edition award, with the following motivation: “For his multifaceted aesthetic research that includes music, acting, and puppet theater, which come together in fresh and surprising shows, where narration unfolds on multiple levels.” In 2024, he received the Lifetime Achievement Award at the “La Luna è Azzurra” festival in San Miniato.
He is also the director and choreographer of four highly successful musical projects realized by the BadaBimBumBand and produced at Terzostudio. His most recent productions for Terzostudio are “Pindarico”, a show of large figures, illusionism, and transformation on stilts, and “Cromosauro,” both with Pietro Rasoti and Miriam Calautti.
Italo Pecoretti is the artistic director of the summer festivals “Burattini nei giardini” in Tavarnelle/Barberino, “Burattini in Contrada” in Siena, and the Teatro Margherita in Marcialla.

Politeama Garibaldi, Sala degli Specchi
May 30, 11 a.m.

Teatro degli Spiriti (Palermo)

Alcestina, gioia mia!
Alcestina, my joy!

Puppets in booth and storytelling – suitable for ages 3 and up, duration 45 minutes – Only in Italian

The show transfers Euripides’ “Alcestis” into the world of puppets. Apollo, the god of the sun, is condemned to serve in the house of King Admetus for two long years. The gods decide to reward Admetus for his benevolence by giving him the chance to escape death: when the fateful moment arrives, in order to continue living, all he has to do is find someone willing to say, “I die in place of Admetus!” The grim lady inevitably arrives to take him away. Will Admetus find someone willing to die for him?

The Compagnia Teatro degli Spiriti was founded in December 2009. Puppet theater is the stylistic hallmark of its research journey: Vito Bartucca and Salvino Calatabiano have imagined a world and brought it to life. Another world, where dream and reality blend and where puppets speak to humans and humans to puppets, a fantastical world where everyone finds their place. The puppets of the “Teatro degli Spiriti” are an army defending imagination, creatures aligned with tenderness.
The glove puppets, crafted by hand with natural materials, are the foundation of a language that retrieves collective memory through the reworking and dramatization of tales from oral and written tradition. The Company’s language blends the evocations of classical puppet theater with pop elements, layering the dramaturgy and making it accessible to a wide audience.

Politeama Garibaldi, Sala degli Specchi
May 30, 5 p.m.

Grupporiani / Colla (Milano)

Aristide di Grecia con Arlecchino suo servitore
Aristides of Greece with Harlequin his servant

String puppets – suitable for ages 6 and up, duration 60 minutes – Only in Italian

The performance, realized with short string puppets, takes inspiration from one of the three Goldonian intermezzi staged by the Compagnia Carlo Colla & Figli in 1993 in collaboration with Macerata Opera. Aristide, preceded by Lo starnuto d’Ercole and followed by Il mondo alla roversa, comprises three acts of a show titled Omaggio a Goldoni, conceived on the occasion of the two hundredth anniversary of the death of the great Venetian author. Thirty years after that production, the first of the three acts becomes Aristide di Grecia con Arlecchino suo servitore.
Aristide was born as a parody of the drama Temistocle by Pietro Metastasio, a theatrical “place” where great passions and noble sentiments live. But the theatrical vein surpasses any original intent: it suffices, in fact, for the servant figures to come to life and immediately the poetic verses scan themes and rhythms of opera buffa, comic duets, and brilliant dialogues. To the richness of the “theater” inherent in the work, the marionettes have added not only the mocking tone that their theatrical language offers but, above all, the parodistic taste in delineating the characters; thus, the Greek hero is a lanky and dangling figure absolutely recognizable under any disguise, the faithful and virtuous bride characterizes her Junoesque presence as a ridiculous and roundish character. The two servants are left to present themselves in the guise of a funny Arlecchino and a mischievous Colombina: thus the game becomes an amusing theatrical mechanism to which the wooden characters cannot escape.
This time Arlecchino, in the role of a servant in ancient Greece, with the words of Carlo Goldoni and to the notes of Antonio Vivaldi, must juggle the requests of his master Aristide and of the sovereign Xerxes, King of Persia, who holds both hostage.

Compagnia Colla / Grupporiani

Giovanbattista Colla was a wealthy Milanese merchant who, at the end of the 18th century, had converted one of the rooms in his palace into a marionette theater. A reversal of fortune, tied to the political events of the time, forced the Colla family to leave Milan at the beginning of the 19th century, so puppet shows became the family’s main activity.
In 1861, upon the founder’s death, his sons Antonio, Carlo, and Giovanni established three different companies. Thus, the Compagnia Marionettistica Carlo Colla & Figli. In 1889, sixteen-year-old Carlo, the eldest of the male children, took over the business from his father, assisted by his siblings Rosina, Giovanni, and Michele. Their work resulted in shows that greatly appealed to the public. Success was immediate, and the company’s tours began to include major cities as well. In 1906, the company arrived at the Teatro Gerolamo in Milan, built for marionettes in 1868. The company returned to the Gerolamo in 1911 when the Collas became the Stable Theater (the only one in Milan after the Teatro alla Scala), also taking over the management of the venue. Forced to leave the Gerolamo location, threatened by urban redevelopment in 1957, the Collas remained inactive for several years. They resumed their puppetry business in 1965, continuing the tradition under the guidance of Eugenio Monti Colla, the last puppeteer of the family who worked at the Teatro Gerolamo, and who was the artistic director of the company until his passing last November.
La Piccola Scala, the Piccolo Teatro di Milano, the Spoleto Festival, and numerous other international festivals and theaters (including in Berlin, Paris, Moscow, Madrid, Sydney, New York, and Charleston) have hosted the Compagnia Carlo Colla & Figli, whose uninterrupted successes are a testament to a great theatrical tradition.

Piccolo Teatro Patafisico
May 31, 11 a.m.

Theatre en Vol (Sassari)

Ginette et son Monde
Ginette and her World

Object theater and clowning – suitable for ages 6 and up, 45 minutes – Only in Italian

Shy yet determined, clumsy yet graceful, Ginette leads us into her dream world. A world where loneliness brings objects, large and small, to life, becoming our interlocutors, interacting, arguing, playing. In short, they invite us to play along, to let go. “Ginette et son monde” is a distillation of innocent poetry that springs from a simple and sensitive comedy attuned to the audience’s heartbeat. Gentle music and light-heartedness for a tale that needs no words.
“Ginette et son monde” is an opportunity to discover the poetic clown universe of Céline Brynart, filled with juggling, object manipulation, acrobatics, and dance. The show is the result of extensive research on clowning that performer Céline Brynart initiated in collaboration with Theatre en Vol.

Céline Brynart

She trained at the Circus School, Espace Catastrophe, and the International School of Theatre Lassaad in Brussels (Lecoq method). She became passionate about clowning and studied with Carina Bonan, Micheline Vandepoel, Kevin Brooking, and Eric de Bont.
In 2001, he co-founded, with Eva Kahan, La Compagnie du Pingouin Quotidien, a cultural association dedicated to promoting circus and theater. She created and performed in various circus, circus-theater, street theater, and dance projects, including Les Motasses, a show of clown acrobatics on a scooter; Raoul et Compagnie, a circus show by Le Plat Pays Company; Aller Simple, a circus-theater show directed by Micheline Vandepoel; she created choreographies, with Jordi L. Vidal, for Le Bal Moderne, a dance project organized by P.A.R.T.S. Brussels; Viola e le sue Valigie, with Maurizio Giordo; Pomme de Ginette; Spoon Surf, a clown act with Maurizio Giordo.
Since 1996, he has been teaching theater, movement, contact dance, and circus languages to children and adults (at the Ecole de Cirque de Bruxelles, Espace Catastrophe, and various contexts in Sardinia). Since 2021, she has been an actress in the Theatre en Vol production “Il grande spettacolo della fine del mondo” (The Great Show of the End of the World).

Teatro Atlante
May 31, 5 p.m.

Girovago e Rondella (Vetralla – VT)

Antipodi
Antipodes

Shadow theater and tabletop puppets – suitable for ages 7 and up, duration 45 minutes – Only in Italian

Any point on the globe has its opposite. Landscapes and beings very different from each other are united by an ideal line equal to the Earth’s diameter. Three characters invite the audience to follow them on a journey to the antipodes of the world. A surreal journey on a miniature horse, accompanied by quirky characters and tiny shadowy figures. “Antipodi” combines different styles and techniques: from puppet theater to shadow play, from object manipulation to physical theater.

Teatro Atlante
June 1, 11 a.m.

Girovago e Rondella (Vetralla – VT)

Manoviva
Livinghand

Tabletop puppets – suitable for ages 3 and up, duration 45 minutes – Only in Italian

A microcosm where hands narrate, without ever resorting to words, a fantastical tale. Manin and Manon are two incredible characters capable of performing juggling and acrobatics acts at the limit of human possibilities. Manin is not only a juggler but also a one-man band and fire-eater; Manon is a tightrope walker and more. The stage lights come on, and the audience finds itself immersed in a fantastical world where anything is possible. The character Manoviva, born from a patent by Girovago and Rondella, is also used in hospitals and schools as motor educational therapy.

Girovago et Rondella family theater is a company of actors and visual artists, founders of a surreal and popular puppet theater, which chooses the street and unconventional places as its stage.
In 1987, the founders Marco Grignani and Federica Lacomba began their artistic adventure on a theater boat in Greece, where twelve actors of different artistic backgrounds – from dance to puppet theater, to video art – created a collective dream in the magical setting of the Greek archipelago. From this experience, Marco and Federica’s training began, as they still pursue the dream of a live art experience today.
They currently live in the Spazio Dromosofico house-studio in Vetralla (VT), where they host international artists and regularly organize workshops dedicated to different aspects of artistic creation: from the dramaturgy of a wordless show to body manipulation and sound.
They are in constant relationship with the University “La Sapienza” of Rome, where they are often invited by the Department of Art and Performance for lectures and workshops.
Currently, they tour with the show “Manoviva,” already performed over 2000 times in more than 25 countries worldwide, and the project “Teatri Mobili” in collaboration with the Dromosofista Company.

Piccolo Teatro Patafisico
June 1, 5 p.m.

Teatro del Drago (Ravenna)

Trecce rosse
Red braids

Narrative and shadow theater – suitable for all ages, duration 50 minutes – Only in Italian

A storyteller narrates the adventures of the popular red-haired girl created during the years of World War II by the Swedish writer Astrid Lindgren, who has become a symbol and icon of freedom and imagination worldwide. The most revolutionary girl in the world, capable of facing life with courage and determination through the tools of fantasy and play, invites us all to become children again, to rediscover the joy of living and improving reality. The Teatro del Drago revisits the adventures of Pippi Långstrump enriching them with the suggestions of shadow theater.

Teatro del Drago

The Monticelli Family is an art family that has been producing and promoting puppet shows and marionettes since the first half of the 19th century. In 1979, the brothers Andrea and Mauro founded the Teatro del Drago, which has since been active in the field of contemporary and traditional Puppet Theater. For its production and promotion activities, the Teatro del Drago is recognized by the Ministry of Culture and the Emilia-Romagna Region as a nationally relevant company. Tradition and research coexist in the preservation of the Family’s historical heritage, now collected in the Marionette House Museum in Ravenna. The Teatro del Drago’s activity takes place on two fronts: that of tradition, with puppet shows from Emilia-Romagna based on ancient scripts owned by the Family and the enhancement of materials from the Monticelli Collection, and that of research, through contemporary puppet theater shows, where a personal and original artistic line is concretized both in the use of materials and in animation techniques.

Teatro Politeama Garibaldi, Sala degli Specchi
June 2, 11 a.m.

Teatro Atlante (Palermo)

La sfida – Un duello tra musica e magia
The Challenge – A duel between music and magic

Clown with sounding objects – suitable for ages 5 and up – duration 50 minutes – Only in Italian

The protagonists of the show are Mister Bum and Mister Mu, a musician and a magician who compete for the same stage, challenging each other with rhythm and sleight of hand. Who will succeed in winning over the audience? To find out, one must follow The Challenge until the very end.
The show uses music and illusionism in a narrative function, to provide spectators with moments of entertainment and poetry. Emilio Ajovalasit and Salvo Compagno create a performance full of surprises, with a succession of magical acts and musical pieces performed with instruments from around the world, where percussion and rhythm take center stage.
Mister Mu is a character created by Emilio Ajovalasit in 2007, a figure with deep roots, whose poetics are inspired by silent film characters, from Charlie Chaplin to Jacques Tati, to the tradition of clowning and pantomime. It also draws inspiration from the tradition of using illusionism in theatrical contexts, giving this art a narrative role.

Teatro Atlante

Since 2006, it has been engaged in theatrical production, training, and research with a particular focus on the surrounding reality, in a continuous contamination between theater and life. It collaborates with schools, associations, theaters, artists, public and private entities at the local and national levels, creating a network of people with whom it has built a real community over the years.
In 2011, it rented a small venue in the historic center of Palermo, which became a gathering place and cultural hub. In 2019, encouraged by the growing number of students and spectators, it felt the need for a larger space. It therefore purchased a space in the historic Kalsa district, creating a room for workshops and a stage area with seating that can accommodate up to 70 people: an intimate setting that enhances the relationship between actors and spectators. The community spirit that drives the activities of Teatro Atlante has always found its natural stage in the streets, squares, prisons, hospitals, and in every shared space.

Teatro Politeama Garibaldi, Sala degli Specchi
June 2, 6:30 p.m.

Giacomo Cuticchio Ensemble (Palermo)

Rapsodia fantastica
Fantastic Rhapsody

Live music and projections – suitable for ages 12 and up, duration 45 minutes.

The ensemble, composed of wind instruments, strings, and keyboards, performs compositions by Giacomo Cuticchio inspired by the Puppet Theater. Rhythms and atmospheres of the epic-chivalric world – marches, gallops, and battles – are performed live, while Chiara Andrich’s video images depict the activity of the workshop where a puppet is born.
Skeleton, head, and armor are assembled, and here is Orlando ready to meet the characters that populate the chivalric universe: the paladins, the ladies, the horses. Music and images progress through themes that evoke the different aspects of the puppet world: battles, love, magic, death, the fantastic. The video, made of gestures, colors, rhythms, and the live performance of the Giacomo Cuticchio Ensemble, is a tribute to the work of the puppeteers and their creatures who, evoked by the music, come to life on the screen.

Giacomo Cuticchio

Son of Mimmo Cuticchio, he is an oprante, composer, and pianist. In him, two souls coexist, not in opposition but complementing each other, those of tradition and the search for new languages. Today, Giacomo continues his father’s path by directing traditional performances in the Via Bara theater, where, as a first-rate puppeteer, he reenacts, according to the ancient scripts of the family, episodes from the History of the Paladins of France, emphasizing his connection with the repertoire and techniques of the trade. He does this according to a personal idea of ​​theater, enriched by his musical background, which directs him towards innovative work in many ways similar to that carried out by his father. His instrument of choice is the piano, and his modus operandi is governed by technical knowledge but also, as in “cunto” (storytelling), by improvisation. The sense of theater and dramaturgy is present both in the staging and in the scores, just as the memory of music played as a child with the barrel piano is present in him.
Since 2001, he has been continuously working with the Compagnia Figli d’Arte Cuticchio, participating in the shows both as a performer and as a musician. The collaboration with his father Mimmo is extremely strong. Giacomo relies on his father-master who still has much to teach. Mimmo entrusts himself to his son-travel companion who, with his evocative music, accompanies the dialogic progression and the events depicted, adding new vitality to the performances. In 2006, he founded the Giacomo Cuticchio Ensemble with which he produces concerts, collaborating with public and private entities.

Piccolo Teatro Patafisico
From May 28 to 30

Sara Cuticchio’s workshop

L’arca di Noè
Noah’s Ark

Maximum 10 participants, reservation only

In an age where digital and new technologies have pervaded the world, children are increasingly struggling to “do things”: draw, color, paint, build, or simply get their hands dirty. They have lost manual dexterity, inventiveness, and creativity. As Maria Montessori said, hands are “the instruments of intelligence”, so it is only through the concrete experience of touch that children can explore the world and express their own thoughts. Manipulating things is a way of reasoning, expressing oneself, and learning. Physical contact and the use of all senses allow the development of neural resources.
The artistic workshop “L’arca di Noè”, aimed at children from 6 to 12 years old, is conceived as an essential experience to develop cognitive, social, and motor skills of each child. It takes place in a group in a playful atmosphere, within which each child is guided to build a puppet with the features of a Sicilian puppet.
The experience involves creating a character of choice using different materials: the modeling of the heads is done with a plastic material similar to clay; the other parts of the body are created with paper, tape, polystyrene, and recycled objects, painted with tempera colors. Fabric is used for the clothes, decorated with buttons, ribbons, rhinestones, and wool.

Teatro dei Pupi e Laboratorio
Tuesday 28 and Wednesday 29 May, 12 noon

Guided tour

Tra pupi antichi e pupi di nuova generazione – Il mestiere degli opranti

Among traditional puppets and new generation puppets – the craft of the puppet masters

The puppets, backdrops, billboards, stage machines, cylindrical stages, and scripts, in a word “the craft” of one of the most important theatrical schools in Sicily, are preserved in the Theater and workshop on Via Bara all’Olivella, true arsenals of appearances where the historic puppets and the new generation puppets of Mimmo Cuticchio are displayed. This collection is not only a historical and philological overview of a particularly significant sector of folk art, but it also tells the story of a family that has been engaged for several generations in a battle to safeguard its theater. The childhood of those who are now of a certain age was marked by the echoes of a tradition that was disappearing under the blows of “media progress,” which found its most advanced point in “television culture.” The most emblematic champions of that “resistance” have been the members of the Mimmo Cuticchio family, who from Via Bara all’Olivella have radiated the strength of a popular culture transmitted passionately from father to son. This heritage is accessible during scheduled guided tours and bears witness to the will and commitment in the development and enhancement of this memory that we wish to pass on to the new generations.

Laboratorio Via Bara all’Olivella, 48
Tuesday, May 28 to Sunday, June 2

Animali e creature fantastiche nell’Arca dei pupi
Animals and fantastic creatures in the Puppet Ark

Animals, monsters, and other fantastic creatures are figures that make the stories of the Opra captivating. Thanks to the skill of the puppeteers and the use of artisanal “special effects”, they interact with the characters, creating fantastic and irresistible worlds.
Some are anthropomorphic beings, like Vegliandino and Baiardo, the steeds of Orlando and Rinaldo, or Argante, Don Vuoso’s dog, and Rabicano, the horse born from the encounter between a flame in the shape of a horse and a gust of wind, first belonging to Prince Argalia, Angelica’s brother, then to Astolfo, the English prince. And then there’s the Hippogriff, the most surprising and fantastic creature of the Orlando Furioso.
They are beings capable of establishing with their masters a bond of noble friendship, perfect because it is selfless. They are creatures able to grasp the interiority and soul of the paladins, to understand their strength, their weakness, their material and spiritual difficulties.
All of them, dozens of animals and fantastic beings, will board the Ark of the Festival, which becomes a symbolic vehicle of salvation and rebirth.

La Macchina dei Sogni  |  forty-first edition

Come l’Arca di Noè
Like Noah’s Ark

Palermo, May 28-June 2, 2024

Art Direction  Mimmo Cuticchio

Working Group
Santa Buttaci
Vittorio Caldovino
Giacomo Cuticchio
Nadia Daddi
Marcello D’Agostino
Heidi Mancino
Tania Giordano
Giuseppe Graffeo

Stage photographer  Alessandro D’Amico
Web designer and social media  Valerio Bellone
Festival set-ups and image  Tania Giordano
Graphic design  Mela Dell’Erba
Logbook   Tiziana Lo Porto
Typographic services  Officine Grafiche soc. coop.
Press Office  Angela Mannino/Porta Felice
Administrative consulting  Sistema Studio Associato
Organization  Elisa Puleo