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Andrea Cramarossa – Teatro delle Bambole


Andrea Cramarossa (Bari 1972) graduated as an actor from the International Academy of Actor in Rome and the School of Comic Actor of Reggio Emilia. He also studies with Lindsay Kemp, Susan Batson, Mariagiovanna Rosati Hansen and Pino Ferrara. He studied singing with Gianna Montecalvo, Pierluigi Molinaro, Mariasilvia Roveri and Filiò Sotiraki. Deepens the Method of the Lichtenberger® Institut für angewandte Stimmphysiologie by Gisela Rhomert; from these studies, in 2003, he founded the “Teatro delle Bambole” as a cultural manifesto.

Andrea Cramarossa habitually holds workshops on voice and acting in Italy and abroad. He received numerous awards in the artistic field including: “Oscars of the young – European Personality” at the Promoto Room of the Italian State and the “Aligi D’Oro” Award for Dramatic Art. With the artistic work “L’URLO” (The Scream) receives in 2013 the first prize at the FAP – Festival of Performative Arts.

Teatro delle Bambole was born with the (in) formal provocation to give space to the voices of Art through the study and development of a “New Method of Approach to Dramatic Art” combining the study of sound with theatrical research. In addition to the work on the sound of Gisela Rhomert, the Method is inspired by “Theater of Orgies and Mysteries (Orgien-Mysterien-Theater)” by the Austrian artist Hermann Nitsch, leading exponent of the Wiener Aktionismus.

The “New Approach Method to Dramatic Art” is fundamentally divided into the Actor’s Work on his Sound, the Actor’s Work on the Character Sound and the Actor’s Work on the Sound of the Viewer. The Method is constantly evolving and is open to contamination and to the encounters that life gives of itself.

Andrea Cramarossa

Theater | Traces


Middle earth 2018/2019

Period of sedimentation and passage between two research programs (Reliquary).
Show produced by the research:

Freely inspired by “Iphigenia in Aulis” and (in suspension) “Iphigenia in Tauris” by Euripides.

Third Reliquary 2012/2017


Five-year study of insect behavior analysis, with a path dedicated to the study of their anatomy, of “attitudes”, of forms (physical and sound), without neglecting the circumstances in which they move.

“Dialogues of the body” is the title that encompasses the fielding of relationships through performative art in this project.

Third Reliquary – Box 1: The Scream / Hymenoptera
Insect orders: Bees, Ants, Termites.
Show produced by the research:“THE SCREAM
(Winner of the FAP Award – Festival of Performing Arts in September 2013)
Debut: September 2013 – Rutigliano (BA).

Third Reliquary – Box 2: The Tear / Coleoptera
Insect orders: Beetles, Scarabs, Cerambici.
An artistic work presented to the public was not born from the research.

Third Reliquary – Box 3: The fall / Blattidae and Lepidoptera
Insect orders: Cockroaches, Cockroaches, Butterflies.
Show produced by the research: “SE CADERE IMPRIGIONARE AMO – Suggestioni dal respiro di una crisalide
(IF I LOVE FALLING IMPRISONING – Suggestions from the breath of a chrysalis)
First debut: June 2014 – Teatro Era (Festival Fabbrica Europa), Pontedera (PI);
Second debut: May 21st 2015 – Teatro dell’Orologio (Festival Inventaria), Rome;
Third Debut: February 27th 2016 – Teatro Duse, Bari.

Third Reliquary – Box 4
Insect order: Heteroptera.
An artistic work presented to the public was not born from the research.

Third Reliquary – Box 5
Insect order: Isotters.
An artistic work presented to the public was not born from the research.

Third Reliquary – Box 6
Insect order: Butterflies.
Show produced by the research: “IL FIORE DEL MIO GENET – Spettacolo itinerante tra i bassifondi dell’anima
(THE FLOWER OF MY GENET – Traveling show between the slums of the soul)
Debut: 29th July 2016 – XVIII National Theater Festival “Collinarea”, Lari (PI).

Third Reliquary – Box 7
Insect order: Lampyridae.
Show produced by the research: “FALSE HAMLET – Opera teatrale in Fa maggiore
Debut: November 29th 2016 – Cinema Teatro Splendor, Bari (For Shakespearean Month organized by the Municipality of Bari – Department of Cultures, Tourism, Participation and Implementation of the Program).

Third Reliquary – Box 8
Insect order: Diptera.
Show produced by the research: “MEDEA – Sintesi per quattro respiri
(MEDEA – Synthesis for four breaths)
First opening to the public: 4th June 2016 – Supercinema, Tuscania (VT).

Third Reliquary [Epilogue] – Casket 9
Insect order: Cimicidae.
Show produced by the research: “PFERD PERSON – L’insostituibile frenesia del verbo
(PFERD PERSON – The irreplaceable frenzy of the verb)
Presentation of the first study (Study on the eternity of the body): 22 March 2019 – Museo Hermann Nitsch, Naples.

Middle Earth 2010/2011

Period of sedimentation and passage between two research programs (Reliquary).

Shows produced by the research:

Concerto in Sol maggiore per giardino d’infanzia
(Concert in G major for kindergarten)
Debut: July 2012 – XIV National Theater Festival “Collinarea”, Lari (PI);

“Kafka nel regno dei cieli” (Kafka in the kingdom of heaven)
Debut: July 2013 – XV National Theater Festival “Collinarea”, Lari (PI).

Second Reliquary 2007/2009


Three-year study on the ways, methods and ways in which words are formed, through the New Approach to Dramatic Art.

Shows produced by the research:

“Il Terzo Uomo” (The Third Man)
Debut: March 2010 – Duse Theater, Bari;

La Morsa” by Luigi Pirandello;

L’oiseau plane sull’infractus de la neige
Debut: March 2010 – Bluorg Gallery, Bari.

Middle Earth 2006

Sedimentation period and passage between two research programs.

Produced shows:

“Gimpel l’idiota” (Gimpel the idiot)
Freely adapted from the stories “Gimpel the idiot” and “The mirror” by Isaac B. Singer
National premiere: 10 November 2005 – Piccolo Teatro di Bari;

“The Lesson” by Eugène Ionesco
National premiere: February 2005 – Piccolo Teatro Sociale, Caserta;

Canto dell’orgoglio e della paura” – Studio filosofico attorno ai temi dell’Olocausto
(Song of pride and fear: philosophical study around the Holocaust themes)
Debut: January 2006 – “Federico II Events” Space, Bari;

4:48 Psychosis” by Sarah Kane
Debut: November 2005 – Spazio Off, Trani (BT).

First Reliquary 2003/2005


Three-year study on the adaptability and transformation of the Myth in modernity, through the New Approach to Dramatic Art.

Shows produced by the research:

Of Earth and wind” from “Hecuba” by Euripides (never represented),

Fire Cassandra” from “Cassandra” by Licofrone
National preview: 11 December 2006 – Teatro San Bernardino Valenzano (BA)

Bacchae” by Euripides (Studio).

First Experiments:

July 28, 1943
From “Drama for oligarchy and spectator only” by Carlo Coppola and “28 July 1943: Memory of a massacre” by Vitantonio Leuzzi
Debut: July 2004 – Bari;

“Cosa disse il vento alle falene” (What the wind said to the moths)
Theater experiment in discos
Debut: June 2003 – Disco “42”, Bari;

“The importance of being called Ernesto” by Oscar Wilde (Studio)
Debut: March 2003 – Teatro Comunale, Vasto;

“The Knight of the Roses” (Production “La DifférAnce”)
Debut: Theater season 2001/2002;

“Mauro ha gli occhi verdi” (Mauro has green eyes)
Debut: 2001 – Teatro Duse, Bari.


Un dì all’azzurro spazio (One day at the blue space), L’Acqua di Marco (Marco’s Water), THE NIGHT WE MET.

Un dì all’azzurro spazio (Italy, 2010) (One day in the blue space)

Written and Directed by: Andrea Cramarossa.
With: Silvia Ferretti, Francesco Martino, Giuseppe Schisano.
Editing: Antonio Argenti.
Production: Verderame, Teatro delle Bambole, Biennale dell’Attore.


There he is.
Wait for me to breathe again for a moment
To tell me it’s not over here
To tell me that it’s done and done
Because you blow
More and more heavily
On stupidity
On dryness
On nothing.
I will be responsible for all this silence.

L’Acqua di Marco (Italia, 2013) (Marco’s Water)

Written and directed by Andrea Cramarossa.
With: Roberto De Chirico and Patrizia Labianca.
And with Giulio Bufo, Francesco Casareale, Andrea Cramarossa, Giovanni Dicandia, Danilo Giuva.
Machine operator: Vincenzo Ardito.
Photography: Sara Rinaldi.
Costumes: Silvia Cramarossa.
Editing: Vincenzo Ardito.
Audio post production: Corrado Riccomini.
Masks: Luigia Bressan.
Subtitles: Inga J Sempel.
Production: Teatro delle Bambole.


What happens to our body and our soul when we are abandoned? Marco’s love story is abruptly interrupted with an “I don’t love you anymore”. The body vanishes, the mind cracks, the hands tremble, the lost soul can no longer find peace. The short film investigates in 12 minutes about the sense of attachment, about the shattered words that in the past have sealed that love relationship that is now finished forever.

THE NIGHT WE MET (Italy, 2017)

Written and directed by Andrea Cramarossa.
With: Isabella Careccia, Silvia Cuccovillo, Federico Gobbi, Domenico Piscopo, Pouline Derbier and with the friendly participation of Maria Panza.
Editing: Anna Giulia D’Onghia.
Subtitles: Inga J. Sempel.
Production: Teatro delle Bambole.


Two people decide to disappear forever, all of a sudden and without leaving any trace behind; that fatal moment – their will – makes them stop existing. Perhaps they have been kidnapped, they have run away, they have died or they are hiding. Nobody knows the real reason behind their disappearance. The instant that separates the tangible body from the deepest void can last as much as eternity, in a time lapse that hardens like a callus and fossilises in the memories of those existent and familiar people.
Or maybe that instant materialises in the spasms of the earth, that swallows and reclaims everything for itself; or it becomes a deja-vu, where the memory slashes the silence with a revived, concrete and unexpected example.
Fabrizio and Anna are the names of the two people mysteriously vanished and never found. They seem to be wanting to make the statement of an unsatiable and draining frenzy, caused by a detachment from the pace of reality and by the impossibility to recognise their surroundings as real; they forget the names of existent things, in a trasversal vertigo that inexorably corrodes their corporeal boudaries.


  • The Next Generation (3° Place) – Short Film Festival 2017
    Reason: “The Night We Met is the story of a sudden disappearance of two people who decide not to leave any trace of themselves. The work questions the mask and the “liquid” identity of the protagonists, and the spark that invests them, that decisive moment in which the tangible body separates itself from the absolute void; a time that can have the status of eternity, or hardens, petrifying, like a callus fossilized in the memory of people known and still present. The short expresses poetically and with extreme (and at the same time delicate) metaphors, the delirium perhaps only dreamed of and a displacement from reality that forever corrodes matter. Or keep it forever.”
  • Official selection at the Taranto Film Festival (Italy),
  • Official selection at the Oniros Film Festival of Aosta (Italy),
  • Best Experimental Short Film at the Inidpendent Talents International Film Festival in New York (US),
  • Special mention at “Los Angeles Festival Award”,
  • Special mention “The Week Filmaker Festival” (Belgium).


Io Volo (Italy, 2013)

Written and directed by Andrea Cramarossa.
With: Cristina Lapedota.
Editing: Anna Giulia D’Onghia.
Production: Teatro delle Bambole.


An autobiographical short but intense short film, between narration and video art, “Io Volo” runs through Cristina’s life and passages, her mutations and transformations in order to be able to recognize herself and claim her identity to a deaf society that the ignore and do not respect it.
“I fly because it is one of man’s oldest desires: to fly. You may also want to fly to get away, perhaps away, flee, why not, and perhaps never to go back. Flying is like a jump, often it can be a liberation, a migration towards Freedom and its mirage. Flying to feel less the weight of life and when others are making you weigh your own existence, here you stop existing. And do everything, slam the doors, shout, break the windows, as long as they notice you and then you begin to pray, that sky where everyone is free and where all fly, light, and beg the Love to manifest and bless the Madonna that protects you from resting your hand on that Love that sooner or later you know it will come.”

Screenplay of an unrealized film:

Dolce come il sale (Sweet like salt)
Lo sguardo della sposa (The gaze of the bride)

FALSE HAMLET – Opera teatrale in Fa maggiore (FALSE HAMLET – Theatrical work in F major)
Spagine Teatro – Fondo Verri (Presidium of the Book of Lecce), 2019
ISBN: 9788894347593

“False Hamlet”, what you’re doing fiction, how to perceive reality. Maybe. The emperor of the doubt lives his perennial existence uncertainty, being barraged by requests. Hamlet and Ophelia find themselves face to face in a room, a free zone, where you say all they think about each other. A sort of “relief”, a continuous complain but the monologue of a flood of the one and the other person, looking under the carpets, the end of their love.
The language used is that which is based on a narrative that juggles long monologues to dialogues suffered; the two characters, Hamlet and Ophelia, juggles in a sirtico terrain difficult to navigate, through the unspeakable suffering of the confession.
The text is original and is inspired by “Hamlet” by Shakespeare, Act III, Scene I; some fragments of the original text, will be counterbalanced by the shameless pretense of reality, until no longer understand where is the bard’s text and its representation and where the true fiction and his own, in a translation of the word that most concerns the soul.

Manicomio criminale. Poemetto. (Criminal asylum. Poem.)
Ed. Adda, 2009
EAN: 9788880828631

The “criminal asylum” is a universe of sentimental, affective, social, personal, objective and subjective difficulties and misunderstandings – which weighs or can weigh on everyone’s life. We commit unspoken crimes continuously and daily, almost without realizing it. The loss of the importance of words, of their deeper meaning, the loss of contact, makes us easy to define this or that thing, but absolutely unaware, by now, in understanding what this superficial definition can cause in our soul and in that of the “others”.

Canto delle more. Poemetto non in rime. (Song of blackberries. Poem not in rhymes.)
Collana “I Gigli” – I libri di Poesia (Series “I Gigli” – The books of Poetry)
Ed.Montedit, 2001
ISBN: 8883561570

Dal mare dei sogni (From the sea of dreams)
Ed.La Rosa (Crescentino), 1996

Unpublished writings:

Amore mio (My love),
La Bambola (The doll),
Il cavaliere delle rose (The knight of roses),
Il linguaggio del padre (The language of the father),
Piccoli giochi (Small games),
Il testamento di Pinocchio (Pinocchio’s will),
Guardami mentre dormo (Watch me while I sleep),
Medea di Kafka (Medea of Kafka),
Sangue (Blood),
Solo in forma di Poesia (Only in the form of poetry).

Three Studies on Silence
First Study on Silence
Maria Imperatrice (Empress Maria)
Performance for twenty spectators with installations and videos.
Solo voice Andrea Cramarossa
Elbex silence of the 80s
First performance: August 7, 2014 – ItinerAria Festival, Calcata (VT);
Subsequent replicas: July 2, 2015 CEA WWF Masseria Carrara in Bari-Modugno, May 12/14 2017 – Pino Pascali Museum of Contemporary Art, Polignano a Mare (BA).


Maria is a transvestite. At the moment of the staging of her ordeal, she tells of her birth, which will take place live, by the work of God. She is convinced that God made her mother, as the most well-known in history, but with the conviction that God actually exists. This time yes, it really exists and also has a name: Vincenzo. Maria is in the white room, small, large, narrow, wide, long, short of an asylum. She was locked up because of this story of God. Obviously nobody believed her and they even think that it is dangerous for herself and for others. Maria is violent, aggressive, unpleasant. It is disturbed by Silence as by Noise. Maria has no peace. She doesn’t want to die, she doesn’t know what death is, it seems too unreal to her: too many hands have forged her body and she is no longer. In that room she chews everything she meets on her way and spits a lot, Maria spits because in no face does she want to recognize herself. She has known hatred, the mystification of pain, she has known the cosmogonic tales of lovers “in love” who left 50,000 Lire on the bed and that Silence of the before and that Silence of the after.
Silence because you must be unable to say anything. Nothing you need to be able to tell. Tell them, leave them to men, Maria, you only serve to bring money home. And then, rot in a mental hospital.

“Shut up, please!” How wonderful the Silence! What a beautiful, incongruent, unexpected creature. As an acclaimed, desired, desired entity. It is not obtained by choice or even by birth, by social rank, by ideology, by conviction. Silence is there, it exists. Silence lives of its own life, undeniable to itself and to the mature order of things.

“Talk! Talk! Talk! Say something, by God! ”. Hateful Silence. Fly shit: this is Silence. I hated it. Unbearable. Heavy. Painful. I hated it. On the other hand, the better the voices, even if they are clumsy, the better the sounds, even if they are noises, the better the thunder, even if it is crashing, the better the gray of a ceramic sky, even if it is clanging, better the nothing, even if it is empty.

Second Study on Silence
Del mio primo canto (Of my first song)
This Studio is a particular conceptual staging game.

Third study on Silence
La Neve cade su tutte le Rose(The snow falls on all the roses)
Soliloquy on autism
Written, directed and interpreted by Andrea Cramarossa
Assistant director: Federico Gobbi
Debut: February 2015 – Buurtcentrum Sterrenzicht, Utrecht (Holland)


Francesco, the protagonist, is a 20 year old boy, severely affected by autism. He is alone, silent, in his room, in the cage. He takes the role of fantasy characters, through whom he communicates his emotions. Well yes! Francesco has decided to use disguise and theater to convey to the world other than his own, what he feels and what he thinks about certain subjects.


Permanent theater workshop
Conduction and Artistic Direction: Andrea Cramarossa.
The permanent theater workshop of the Doll Theater began in April 2015.
A “simple” approach, based on the senses and feelings, for those who want to approach the New Approach Method to Dramatic Art.
Location: Bari.

Shows made:
Debut: 27 May 2017 – CEA WWF Masseria Carrara (Bari-Modugno)

Adaptation from “Under the Milk Wood” by Dylan Thomas.
Debut: 5 May 2018 – CEA WWF Masseria Carrara in Bari-Modugno.

BREMEN FREIHEIT (LIBERTÀ A BREMA) by Rainer Werner Fassbinder
Debut: 2 December 2019 – Bari, Duse Theater

In the word of the other: it i salso mine.
Path of knowledge, dialogue and cultural exchange between different ethnic groups.
The scheduled appointments include meetings of cultural exchange, theater workshop (with the involvement of people of the migrant and Italian people), staging of a global performative act, photographic exhibition on the theme of dialogue, meeting and sharing of knowledge (photo shoots made along the way).
Period: from October 2019 to July 2020.
Location: Bari.

Within the first edition of the Festival of Mental Health, held in Bari in October 2014, Teatro delle Bambole organized a workshop for actors and mentally disabled people in the Centro Phoenix, in collaboration with 22WebTV: a path towards social issues related to mental illness.
Research laboratory (“Of the verb to be”) and Performance with a high spiritual impact to sensitize public opinion towards the social discomforts deriving from mental illnesses: from acceptance to creation, a journey into the art of the senses to reach estrangement of reality.
Opening of the work to the public: October 18, 2014, Bari
For the second edition of the Festival of Mental Health, always held in Bari, Teatro delle Bambole presented “MEDEA – Synthesis for four breaths”;
performance date: 25 November 2016 – Bari, Anche Cinema Royal.

filecenza! Libri sotto gli Alberi (filecenza! Books under the Trees)
Small Literature Festival.
Artistic direction: Andrea Cramarossa.
From 2012 to 2018, Teatro delle Bambole organized, in the month of September, a small festival dedicated to various literary genres, with workshops, laboratories, theatrical performances and presentation of the authors and their works.
Location: CEA WWF Masseria Carrara – Z.I. Bari-Modugno.
Genres Presented: Fiction (2012/2017); Dramaturgy (2013/2018); Children’s Literature (2014); Poetry (2015); Nonfiction and Journalism (2016).

LUCCICA– Festival dell’Arte(SHINY – Art Festival)
Artistic direction: Andrea Cramarossa.
Realized from 2015 to 2017, the is an opportunity for cultural aggregation, a protected place, an oasis, where Art comes to be the center of attention again.
A week – in October – entirely dedicated to the performing arts, from theater to cinema, from painting to photography, from music to creative writing.
Location: CEA WWF Masseria Carrara – Z.I. Bari-Modugno.
17-20 October 2015: Edition 0
LUCCICA meets: Conference on the state of the theater “What if we go back to talking about the theater?”
18-23 October 2016: I Edition;
24-29 October 2017: II Edition.

IO: STUPORE – Pratiche di centratura teatrale (I: AMAZEMENT – Practices of theatrical centering)
Artistic direction: Andrea Cramarossa.
Realized from 2015 to 2018, Higher Education project born from the collaboration of Teatro delle Bambole with the Alice Area Arti Espressive cooperative: cycle of intensive workshops (from May to August) with great Masters of the theater scene.
Location: CEA WWF Masseria Carrara – Z.I. Bari-Modugno.

Theatrical review
Artistic direction: Andrea Cramarossa.
Created for two editions (2017 and 2018), the exhibition is an occasion for cultural aggregation, a protected place, an oasis, where Dramatic Art comes to be the center of attention. A rare occasion for a privileged meeting with the Theater in all its forms.
Location: CEA WWF Masseria Carrara – Z.I. Bari-Modugno.

Theater & Environment – Projects of Environmental Education and Theater
For a precise ethical choice, Teatro delle Bambole has always produced and developed Environmental Education Shows for the younger audience in collaboration with the Verderame Cooperative and the WWF Italy Education Office.
Shows produced: “The Princess Medusa” (on the protection of the marine ecosystem), “The Pig Prince” and “The magic bird” (on the intensive breeding of domestic animals on the value of freedom), “The King of the Trees” and “The King and his scado” (on the extinction of animal and plant species), “The Blue Prince” (on Biodiversity).

Travolta da uno Tsunami (Overwhelmed by a Tsunami)
Entertainment freely based on the novel of the same name by Patrizia Rossini.
With: Caterina Firinu and with Stella Addario, Isabella Careccia, Patrizia Labianca, Antonella Ruggiero.
Directed by Andrea Cramarossa.
Debut: April 2014 – Nuovo Teatro Abeliano, Bari.

Biennale dell’Attore (Biennial of the Actor)
Higher Education Festival for the Actor.
Permanent workshop on the New Method of Approach to Dramatic Art with intensive weekends of contemporary dance, dance theater, modern singing, fencing, dramaturgy, diction and phonetics.

Works created after a staging. Currently present in the Archive:

Wreck 01.
From “THE FLOWER OF MY GENET – Traveling show between the slums of the soul”

Wreck 02.
From “THE FLOWER OF MY GENET – Traveling show between the slums of the soul”

Wreck 03. “Oreste”

Wreck 04
From “IF I LOVE FALLING IMPRISONING– Suggestions from the breath of a chrysalis”