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The Story

Patricia, an American self-anointed revolutionary and theater director sets out to dismantle patriarchal storytelling. With her long-suffering pugliese collaborator Bapovero in tow, she deconstructs The Sound of Music to make it pass the Bechdel Test. But when their waitress presents two meticulously described entrées - a cow named Carolina and a sheep named Peggy, both female, both eulogized like fallen heroines - Patricia balks: “I don't eat women”. She demands to eat a male instead: a piccione (pigeon) unaware that, in Pugliese dialect, the word comes loaded with unintended anatomical meaning, not precisely male. 

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I was responsible for crafting the narrative, dialogue, and thematic structure of Cattivo Gusto, a satyrical theatrical piece performed at OGR Torino. From concept to execution, I shaped a story that plays with language, miscommunication, and the intersection of power and consumption.

Questo manzo si chiamava Carolina.

Ha prodotto litri e litri di latte e poi è morta. È stata iugulata, depilata, scuioata, viscerata, toelettata ed ora è proprio qui, su questo piatto.

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About OGR Torino

Officine Grandi Riparazioni (OGR) is one of Turin’s most iconic cultural venues. Originally a railway repair facility from the late 19th century, it has been transformed into a multidisciplinary space for contemporary art, music, theater, and innovation. Hosting avant-garde performances and artistic collaborations, OGR provided the perfect setting for Cattivo Gusto, which thrives on subversion and critical engagement.

Who eats whom?

In a world eager to revise, redact, and reframe, the play asks what happens when the script is changed, but the power dynamics remain. It probes the fine line between critique and censorship, between naming and erasing, between giving voice and demanding silence. As characters stumble over dialect, double meanings, and dogma, Cattivo Gusto raises questions about power, language, and who gets eaten in the end.

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