​esterno, dio / draussen, gott  is a multimedia performance for non-teathrical spaces.

Like the teathrical version it is based on listening to the oral testimonies of Italian women and men who survived the deportation of political opponents by the Italian nazi-fascist regime between 1943 and 1945. The voices of 51 former deportees in Nazi concention camps were recorded in 1995 by a psychology student for her thesis and collected in an archive.

By browsing the archive and staging the materials, the performers delicately prepare the audience to listening the stories of the violence suffered by the survivors. Fragments of a collective narrative, an invisible wound in Italian and European society that engage a powerful questioning of present political framing.

duration_ 60'

 

PREMIERE

January 24th 2026

ANED - Associazione Nazioanle ex deportati nei campi nazisti

Casa della Memoria, Milano ​

con Filippo M. Ceredi e Giovanni Onorato 

​

March 21st  2026

Centro Psicanalitico Napoletano / SPI

TheAtri, Napoli

con Filippo M. Ceredi e Emilia Verginelli

as part of the conference "IL NEGATIVO DELLA MEMORIA - memorie dimenticate, traumi transgenerazionali, lutti inestinguibili", speakers Fiorella Rodella (author of the interviews), Barbara De Rosa, Emilia d’Antuono and Virginia De Micco ​​

​​​

​

PRESS (IT) - about the teathrical version

​

Silvia Maiuri on Teatro e Critica, 12 novembre 2025​

"Imagination is a fundamental requirement for the experience offered by this show. But the audio is so evocative and enhanced by the theatrical setting built around it that it would be impossible not to empathise. Often interspersed with music from the early 1990s, as recorded on previously used audio cassettes, the voices guide us on a journey of awareness. The effect is similar to that of a documentary made up solely of vintage-sounding voices, awkward laughter and the long silences of an impossible conversation [...]"

​

Emilia Romagna Cultura, 18 novembre 2025

“Ceredi and Onorato reopen the archive on stage, leaf through the materials, assemble the fragments and prepare the audience to listen to the voices. The archive thus becomes not a monument, but a living relationship with memory, a shared elaboration.

The heart of the work is listening, understood as a theatrical act. The recorded voices – with their timing, hesitations, inflections – compose a collective narrative of the years 1943-1945 that does not erase individual identities: Ferdinando, Pierina, Celio (among others) re-emerge with stories and characters, escaping the anonymity of trauma. The scene follows suit, making room for the magnetic tape and its “flaws” as part of the truth of the document, constructing a path that also declares the fallibility of research: putting things back in order, making sense of them, accepting that some pieces remain opaque. For Filippo Michelangelo Ceredi, who has often intertwined biography and history (think of Between Me and P.), this new creation is precisely the continuation of research into the relationship between archive and presence, between document and imagination.”

​

Silvia Maiuri / Redazione, TeC, 31 dicembre 2025
Il teatro e la danza che vorremmo rivedere nel 2026

​