PAOLA DE CRESCENZO_ATTRICE - OSPITE DI BUONGIORNO BUONGIORNO BUONGIORNO - 18 03 26

March 18, 2026·11 min·1 clip

Paola De Crescenzo discusses her debut in 'Emma,' a contemporary reinterpretation of Madame Bovary.

1. Radio Incontro Donna (RID 96.8 FM) hosts actress Paola De Crescenzo to discuss her solo theater show 'Emma,' a contemporary reinterpretation of Madame Bovary. 2. De Crescenzo is both the creator and performer of 'Emma,' taking on roles of writer, conceptual designer, and sole onstage voice alongside a musical team. 3. The episode's core question is what it means to give Emma Bovary total power of speech — to have her say everything she did in secret, directly to the faces of those who constrained her. 4. 'Emma' debuted on 5 March 2026 in Treviso, and De Crescenzo describes the creation process as one where 'it was no longer Paola writing, but Emma gradually taking the word.' 5. All characters in the show are voiced through De Crescenzo alone, which she frames as an act of liberation — Emma finally confronts husband and lovers without hypocrisy. 6. De Crescenzo rejects readings of Emma as either guilty or purely a victim: she argues Emma walks consciously toward death, aware she is disappointed by life. 7. She uses the image of a butterfly trapped in a square room, slamming its walls endlessly, to describe Emma's perpetual pursuit of desire — reaching one thing only to want the next. 8. The host references a shared astrological sign (Cancer) as a basis for De Crescenzo's passionate, total immersion in her work, which De Crescenzo confirms extends to a permanent 'childlike' quality. 9. De Crescenzo describes working with musician Vinicio Capossela on a post-pandemic production of Oedipus at the Reggia di Colorno, where actors interacted with readings during Capossela's concert. 10. When asked which colleague left the strongest impression, De Crescenzo declines to single anyone out, saying every project is total while it lasts and then one moves on — 'not disposable, but I am completely in the present of things.' 11. She recounts spending two months in Opole, Poland — the city of theater director Jerzy Grotowski — rehearsing in English and resetting entirely to a new currency, language, and context. 12. De Crescenzo argues actors stay perpetually young because constant relocation prevents the brain from settling into habit, keeping it 'always ready to change, to learn new things.' 13. She accidentally wrote the Trenitalia Frecciarossa loyalty code instead of her tax code while filling out forms — illustrating how much she travels for work. 14. Her next project is a conference-performance titled 'Segni di Apocalisse' (Signs of Apocalypse) alongside philosopher Massimo Cacciari, debuting at Teatro Mercadante di Napoli in November, now coming to Treviso province. 15. For 'Segni di Apocalisse,' De Crescenzo reads passages from Nietzsche's 'Beyond Good and Evil,' Dostoevsky, and Krauss — authors she describes as 'heavy' but finds fascinating. 16. The director of 'Segni di Apocalisse' is Roberto Andò, who commissioned the show for the Rivista theatrical publication. 17. De Crescenzo says she started pursuing her professional dreams at age 19, declaring 'my reality cannot be anything other than the realization of my dreams.' 18. The interview has a warm, conversational tone — the host and guest bond over shared astrological sign and mutual enthusiasm for theater as a vocation. 19. Listeners interested in Italian theater, solo performance, and the intersection of classical literature with contemporary stagecraft will find this episode relevant. 20. Those seeking news-format or analytical discussion of theater theory or Flaubert scholarship will likely find the episode too personal and celebratory in tone.

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