Introduction

The performance follows exactly the development of the fable of Charles Perrault, from which it originates, and has the structure of a mimic action on a music theme. “Cinderella”, written in 1906 by Carlo II Colla, opens in the history of the Compagnia Carlo Colla e Figli, when they enter at the Gerolamo Theatre in Milan as Permanent Company, the chapter dedicated to the fable (in the following years the Company produced “The Sun’s bride”, “Puss in Boots” and “I nani burloni”) and begins a conception of marionette theatre that wants to get over the dualism between performance for children and for adults creating, on the contrary, a dramaturgical reading that suggests to different cultures and experiences (like the ones of the children and the adults) emotions and fascination of different kinds.
The characters, following the tradition of the marionette theatre, are charged of definite meanings and allegories compared with the reality and its representative models, while the actions becomes an intense but concise tale with theatrical factors, from the enchantment to the subtle persuasion in the immediate reception and in the memory.