Arca Azzurra and Ugo Chiti
Since 1982, twenty years of performances in non-top collaboration with Arca Azzurra, dedicated exclusively to contemporary drama, prove Ugo Chiti to be the real "poet of the company".
From his first performance Volta la carta... ecco la casa (Turn the paper's the house), to the productions which have already been scheduled for the following seasons, he has focused continuous attention on the unfolding of contemporary society analysed through productions that have been performed and awarded prizes again and again; the foremost being La provincia di Jimmy (Jimmy's province). It has been an accurate and coherent activity, heedful of all the historical and sociological changes in contemporary life, never an end in itself, but always pictured through a series of projects that include more than one play, and which, in turn, register the diverse aspects of Italian society, from traditional to psychological ones, from fantastic to social ones; plays with titles like Allegretto ... (perbene ma non troppo), (Allegretto...but not too much), Paesaggio con figure, (Landscape with figures), Il Vangelo dei buffi (Gospel of the comedians), and 4 bombe in tasca, (4 Bombs in your pocket), which are ever present on the bill boards of the most famous Italian theatres. Constant attention is given to the rediscovery of the root of the Italian language through the classics of Tuscan literature, with original adaptations of texts like La Clizia, which have brought to the stage Machiavelli, the tales of the Decameron, and less famous short stories like La Cena delle beffe (Mockery at dinner) by Sem Benelli, which come from the great literary season between the 19th and 20th century.

It includes a vast repertory of very suggestive works in which the company experiments with such internationally famous literary texts as Kafka's The Metamorphosis, and Edgar Lee Masters' Spoon River Anthology

What has been said about us:

(...) Chiti and his group seem personally immersed in what they do, in the sense of an integration with the language and with the contents of their performances; a sort of expressive necessity that brings them to an extremely high level of credibility, not only on a narrative plane, but also on an existential one, and the theatre is, in this case, able to be both metaphor and entertainment, to live through the public, and to be contemporary, and, in this case, strong and not banal (...)
Ugo Volli La Repubblica

The actors, like their characters, seem real - how can I put it? - they do not seem like actors, and that is meant to be a compliment ... even among the performers, not one is less credible or talented. Such a remarkable result is probably only obtained through constant and continuous work, together among themselves, and together with the playwright and the director, in an environment where the actors, too, can put forward ideas and invent, thus stimulating the writing.
Rita Cirio - L'Espresso