Cyrano De Bergerac

by Edmond Rostand
Translator: Mario Giobbe.


Roberto Totola.
Giannantonio Mutto.
Characters and performers:
Cyrano De Bergerac: Solimano Pontarollo
Rossana: Marina Furlani
Cristiano: Roberto Totola
De Guiche: Eugenio Chicano
Le Bret: Lachezar Yankov, Corrado Fraccaro
Dama di Compagnia: Franca Zanetti
Il Frate: Giancarlo Bellesini
Soldati: Giulia Gurzoni, Jacopo Totola.
Marco Di Marzo.

Scenes, lights and costumes by Punto in Movimento/Shifting Point
A production by Punto in Movimento/Shifting Point in collaboration with Stone Italiana and managed by Doc Servizi.


The peculiarity that makes “our” Cyrano original is that the show was born on and in the water, water becomes a symbol of birth and death of the protagonist himself.
We used a platform 6m X 4m, which is moved and stopped by the actors themselves with cords, or pushing with bamboo poles, balanced or squeezed to create different heights, producing actors balance difficulties and instability, depending on the situation you are composing. Some boats and a pier complement the use of stage space.

Hercule Savinien Cyrano de Bergerac, a cadet (nobleman serving as a soldier) in the French Army, is a brash, strong-willed man of many talents. In addition to being a remarkable duelist, he is a gifted, joyful poet and is also shown to be a musician. However, he has an extremely large nose, which is a target for his own self-doubt. This doubt prevents him from expressing his love for his distant cousin, the beautiful Roxane, as he believes that his ugliness forbids him to “dream of being loved by even an ugly woman.” Edmond Rostand wrote “Cyrano” in 1897. Rostand was inspired by the events and the writings of Cyrano de Bergerac Savinien, french playwright and satirist of the late seventeenth century; the ancient tragedy, heroic Italian and French poetry, unhappy love, adventure and the mockery, drama in verse.

Since its birth, the theatre of Punto in Movimento/Shiftingpoint has been distinguished by team work and physical training, full of “signs and meanings”. Masters like Stanislawskij, Grotowski, Barba, Strasberg and Peter Brook are taken as a reference. We work everyday in order to improve acting skills through plastic exercises and improvisations. Our productions are never thought to be static, but instead we like them to take place at new and unconventional spots , at the limit of our possibilities, even when they were originally created for the stage. We are fighting the narrow-minded way of thinking of those people whose art follows just one direction.