“An extravagant game that entertains both the audience and the actors. (…) interpreters, multi-personal characters full of exhilarating poetry. A modern and ironic reading. A light transposition, anything but superficial”.

[Investigative Team – Alla Munchenbach]

Atmosphere and characters of the intellectual world of the Provencal courts of the late Middle Ages: literary salons where refined noblewomen welcome the Cortese (those who know how to behave). Nobles, scholars, clergymen, men of letters, artists, knights gathered together to quarrel about love, the Amor Cortese. In the court where Chrétien de Troyes (France 1135-1190) is about to read Lancelot or Il Cavaliere Della Carretta, a chivalric-loving novel of his, the Cortese Pubblico will be entertained with stories, music and dance.
A man and a woman give body and voice, with multifaceted theatricality and physicality, to grotesque characters, with the rich sound coloring of a precious musician. With a refined range of languages ranging from the commedia dell’arte to the theatre of the absurd, from dance-theatre to farcical pantomime, to a lot of television, between lyricism and anachronisms, the comedy unmasks the comedy that is being staged in the moral latrine of the contemporary world, in whose media salons advertising cosmetics ennobles the stench of the Great Binge.