the GiANT

created and directed by Emanuela Dall’aglio

artistic collaboration by Mirto Baliani

with Emanuela Dall’aglio

and the participation of Veronica Pastorino

costumes and props by Emanuela Dall’aglio

in partnership with Andrea Bovaia, Veronica Pastorino

and Paolo Romanini

music and sound by Mirto Baliani

lighting by Emiliano Curà

production assistant Jessica Graiani

voice of the giant Daniele Bonaiuti

production Teatro delle Briciole


for 4 years

Photo Jacopo Niccoli

After the wolf of Little Red Riding Hood and the witch of Gretel and Hänsel, the final chapter in the Stories on your shoulders trilogy (loosely inspired by the Grimms’ fairy tale Seven at one blow) deals with another archetype of fear: the child-eating giant, a massive creature who unites physical strength with dim-wittedness. The protagonist is a child who challenges the giant to a competition between strength and guile, one of the generative frameworks of the oral fairy tale. One morning, filled with pride in his skill in killing seven flies in one blow, John decides to give himself a well-deserved day off, but on the way home he meets a giant. A series of adventures unfold, in which the child will defeat his fearsome adversary with demonstrations of cunning that will result in him returning victorious.

The theme of the giant is rooted in the traditional oral tales of various different cultures, and is reinvented here in the form of an immensely huge antagonist, filled with modern figurative imagery: a grotesque beast that evokes our ancestral myths and rituals, portrayed through his adversarial relationship with the infant hero, but also through humorous descriptions of his bizarre personality. The fusion between a classic fairy tale and modern, visual interpretation reflects the mysteriously universal nature of the ancient Fairy tale. This is also achieved through a meticulous vocal and musical score, which accompanies all the stages of the protagonist’s initiatory journey.

The unifying invention of this trilogy, which drives the action and twists the plot, is now opening up to new theatrical practices and seems to be breaking away from itself. This metamorphosis generates superhuman beings which have a life of their own. It is a search for “special effects” which are the fruit of a peculiarly theatrical craftsmanship. Similarly, the symbolic evidence, anchored in the physical reality of the classic fairy tale, is kept. This evidence narrates the feats of Gianni and are shown to the children at the beginning of the show, thus occupying the audience while they wait and creating a gallery of memorable objects which you can spot during the show.


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