Macbeth meets Emanuele Artom

AUTOBIOGRAPHY OF THE NATION
No One Has an Innocent Look

From 1938 to 1944. From a page of Shakespeare’s play to the martyrdom of Jewish partisan Emanuele Artom. “Autobiography of the Nation, No One Has an Innocent Look” is not a linear narrative, but an emotional journey. Not a historical account, but a vision: fragmented images, stylized sequences recreated, pared down, made extreme.
Macbeth—a universal symbol of blind ambition, the violence of power, and denied responsibility—meets Emanuele Artom, a young intellectual from Turin, a partisan from the “Italia Libera” gang, tortured and killed in 1944. Italy’s fascist and racist past takes shape before our eyes, reflected in Shakespeare’s tragedy, unmasking a violence that belongs not only to history, but to the collective conscience.

Here, the theater doesn’t reconstruct: it lays bare.
It doesn’t narrate: it evokes.
It doesn’t judge: it interrogates.

A scene without boundaries
In this work, we don’t want to separate the audience from the stage. The theater isn’t a place where you watch, but where you are together. The spectator isn’t a guest: they are a necessary presence. The audience finds itself in the middle of the stage, involved in the space where emotions, emotions, memories, and acts of violence (figurative, but not harmless) unfold.
Those who wish can sit to the side, without participating in the stage movement. But the true experience is at the center: where history comes alive.

We don’t seek theatrical “pleasure.”
We seek a jolt.
A jolt.
An annoyance that becomes awareness.

Why this show
From 1938, the year of the racial laws, to 1944, the year of Artom’s death, we traverse an Italy that self-destructed, that persecuted its citizens, that chose and remained silent. The encounter between Macbeth and Artom is not possible in chronology, but it is necessary in thought: the tragedy of blind power embraces the real story of those who chose to oppose it, paying with their lives.
The theater becomes a “biography of the nation”: ours, made of choices, mistakes, responsibilities evaded or assumed. No one looks on innocently. No one can escape.

Note to viewers
This work contains elements of strong emotional impact: fragments of figurative violence, screams, harsh silences, and extreme gestures. Not to shock, but to convey without frills what history must no longer allow itself to be forgotten.

Theater can make you angry.
It can hurt a memory.
It can make you feel involved, touched, challenged.

We want it.

Because a nation’s autobiography is written by looking at each other. Everyone. No one excluded.
No one has an innocent look.