In his touching monologue, the talented Igiebor Eseosa tells of an evening, an evening in any one of the many Libyan concentration camps where migrants are forced to live crammed like animals, waiting uncertain and indeterminate of their turn for the crossing of the Mediterranean. Some jailers enter the warehouse to snatch a six-year-old girl from the arms of a desperate mother who begs them to have mercy. The girl is raped by the inhuman herd all night long. It is then rejected in the arms of the mother, unconscious, bleeding and swollen.
The "dose" has risen from the story of a woman who has died in the birth of a child with his son almost born, complaining of labor, simply annoyed his tormentors.
From father and husband, in hindsight, I could also have preferred an energetic and well-balanced fist in the belly listening to the reports of the daily atrocities in the Libyan concentration camps . An account is to read them in the many articles on the net. Another thing is to listen to them from the words of a spontaneous Igiebor Eseosa, in which the absence of theatrical artifices in his way of acting and, probably, the experience of a lived not less dramatic, have amplified their authenticity.

Da Dove vieni? Terraferma, terrachiusa is a theatrical representation, to which I had the pleasure of assisting (if this expression is appropriate in this regard) within the review New air in ME , which slams bare and raw facts in the face of the spectator, stories of ordinary madness suffered by those fleeing from an unsustainable situation (whether war or absence of minimum conditions to live in dignity, it does not matter) ending up in the hands of unscrupulous torturers.
Actor Thilina Pietro Feminò is giant. Simulating a realistic African French accent and the resigned cynicism of those who daily witnessed too many atrocities, tells, among other events, how to drive away boredom some jailers released groups of migrants inciting them to escape, in order to use them as targets of their amused rifle shots. In the development of the theatrical narration, Giampiero Cicciò and Maurizio Marchetti implicitly seem to indicate to the viewer the hermeneutical key to coherently frame all the scenes and video contributions used: the knowledge, the recognition as human beings, the meeting between people, cancels the mistrust and reactivate empathy. However, my impression is that the great disruptive force of the nihilism of the Libyan facts narrated, relegates everything that stands between the monologue of Igiebor Eseosa and the final one of Thilina Pietro Feminò, to the role of a weak corollary. In other words, one gets the impression that the Libyan assassins do not give up anything that, for example, we are all genetically a big family: so with these people, who have no mercy even a baby, where to start talking?

Da dove vieni? Terraferma, terrachiusa underlies a criticism of international agreements stipulated for the "control" of migratory flows: in exchange for means, training and money from the European Union (and in particular the Government Italian), the Libyan Government promised to cooperate. This collaboration is in fact translated into the reduction of departures (with the consequent extension of the ordeal of migrants held in the camps), in bringing back the intercepted boats (and therefore the migrants in the camps), turning a blind eye to the inhumane management of concentration camps, on the trafficking of migrants as slaves, on extortions and blackmailing families of origin. Is it therefore surprising that the Libyan Coast Guard has sometimes deliberately left the migrants drowned in the sea and hindered the attempts to rescue ships from non-governmental organizations, even by ramming them? Davide Liotta, patron of the review, rhetorically asks how it is possible that values today taken for granted, are in fact questioned. What barbarism in the last century was not enough to prevent the reconsideration of inhumane practices and ideologies? Unfortunately today the reflections on the "banality of evil" by Hannah Arentd come back, impressed by the total dereliverization of the Nazi subordinates with respect to the uncritical execution of orders to systematically exterminate an entire people, as if they were not people, as if they were simple objects to be discarded. Today also the famous verses of Primo Levi are returning, referring to the way in which Jews were treated in the Nazi concentration camps, posed a rhetorical doubt that they were considered human beings by their persecutors. The suspicion is that these reflections have unfortunately never ceased to be current.

If in a Libyan concentration camps even a child does not inspire compassion, it is not considered a person but something to dispose of, without too much trouble undoing, if politics and public opinion are aware of it but "Africans are still their home! ", means that the risk of going beyond that point of no return that in the twentieth century led to the rise of abominable ideologies is real. Turn the other way, pretend not to know, bask in the warmth of our reassuring community in which to continue to feel good anyway, be it the parish in which the "neighbor" is only white and with a family accent, be it the political party in which disguise malice and selfishness with a hypocritical need for greater security does not change the reality of being progressively renouncing to pieces of humanity. If we want to start reversing the course, we need to start demanding that European governments are not complicit, either direct or indirect, of carnage and atrocity. It is necessary to begin to recognize, take seriously and oppose the return of racist policies and ideologies. Deep reflection is needed to achieve a clear position.
So thanks to Giampiero Cicciò and Maurizio Marchetti for having conceived Where are you from? Terraferma, terrachiusa , to the master Giovanni Renzo for the apt soundtrack played masterfully live, to Lelio Bonaccorso for lending his pencil to the poster, to Davide Liotta for the sensitivity in welcoming the review "Aria new in ME "a show so" politically incorrect "and to all the people who allowed its staging.