Outside of academia
My mother is a theatre director working with local companies.
By the age of six, I was already stepping into small roles, learning how stories come to life under stage lights. Theatre was never just an extracurricular activity for me — it was a language I absorbed early on, a space where creativity, discipline, and collaboration naturally come together.
When I was ten, I even wrote a small theatre piece reinventing Pinocchio’s story and brought it on stage with my friends.
In high school, I had the chance to explore ancient Greek dramas. Since then, I became part of several student productions that interwined classical works and modern themes. I have always been fascinated by the art of stage adaptation and reinterpretation — how timeless texts can resonate to contemporary audiences.
Here you will find my latest projects and performances, a space where I continue to explore storytelling as a college student, beyond the boundaries of science.
Fragile: of wind and glass
Fragile: of wind and glass is a multidisciplinary performance that intertwines spoken word, poetry, and live music to explore the delicate balance between human fragility and inner resilience. Through an intimate sequence of voices, gestures, and songs, the piece reflects on vulnerability, memory, and the quiet strength that emerges from moments of fracture.
The idea for this performance originated from the pervasive sense of loneliness and despair during the COVID-19 pandemic, political instability, and ideological wars. This piece explores the social and general human fragility of moments, as well as the individual sense of despair in the uncertainty of their lives and their families’ dynamics.
Created and performed by Patrizia Falcone, John Favaro, and Julia Favaro, the work unfolds as a poetic journey where theatre, literature, and music meet across languages and cultures — drawing on Italian, Portuguese, English, French, and Polish voices— to illuminate the subtle, luminous threads that connect personal experience with universal emotion.
Oedipus rex
Oedipus Rex is Sophocles’ timeless tragedy of fate, blindness, and the terrifying gap between what we know and what we refuse to see. A king investigates the source of a plague ravaging his city — only to discover that the answer has always been himself.
Set in plague-stricken Thebes, the story follows King Oedipus, an earnest yet fiercely proud ruler determined to find the murderer of the previous king, Laius, to lift Apollo’s curse. The drama unfolds through a the help of the blind seer Tiresias, who foresees the ruinous truth and the aged shepherd and Corinthian messenger who reveal the king’s true origins. As witnesses testify and prophecies align, Oedipus discovers that he himself murdered his father and wedded his mother, leading to Jocasta’s tragic suicide and his own self-inflicted blinding and exile.
This production by Koru Teatro APS, directed by Giuseppe Mendicino, reimagines the ancient myth through a distinctly unsettling lens. Besides the Thebeans’ classycal chorus, stands a chorus unlike any other: a company of sphinxes — half beast, half human, half harpy, half cat — who circle the edges of Oedipus’ crumbling certainty. More than witnesses, they are the embodiment of the irrational, the instinctual, the unknowable. Their presence casts doubt not only on Oedipus’ innocence, but on his very sanity.
