“Blessed Obscenity” brings Untold Story of Italian Trans Pioneer Giò Stajano to the Stage
A new production at the Teatro Comunale di Bolzano aims to restore dignity and shed light on the life of Giò Stajano, one of Italy’s first transsexual women, whose story has remained largely unknown. Premiering November 11th, “Blessed Obscenity,” written by Massimo Sgorbani and directed by Serena Sinigaglia, promises a compelling exploration of a life lived defiantly and on the edge.
Born Gioacchino “Giò” Stajano Starace, and as the nephew of a fascist hierarch, Stajano’s life was anything but conventional. She was not only a trans woman, but also an actress, journalist, writer, commentator, model, and even a lay nun – a multifaceted figure who inspired directors like Federico Fellini, Steno, and dino Risi. according to those involved with the production, Stajano’s life represents “a hymn to freedom of thought, self-determination, courage to show yourself for what you are and want to be.”
the play seeks to present a nuanced portrait of Stajano, moving beyond cliché and offering “uncomfortable truths” about her experiences.Actor Gianluca Ferrato, who portrays Stajano in the monologue, described the production as an effort to give her “back dignity even on stage.” He emphasized the story’s blend of “pity, fun, mockery and gaming,” which he believes offers a fresh perspective on a complex individual.
Ferrato detailed his approach to embodying Stajano,a character who navigated numerous societal roles and a profound personal evolution. Director Sinigaglia envisioned his entrance as reminiscent of Dirk Bogarde in Luchino visconti’s “Death in Venice,” suggesting an immersion into a cinematic world. “I listened to his voice, his ways, and than, since it is not an imitation, I did what my instinct and heart told me,” Ferrato explained, prioritizing a personal truth in his performance.
The relevance of Stajano’s story in today’s world is especially striking. While acknowledging progress in LGBTQ+ rights, Ferrato noted that life for homosexuals in the past was often lived in secrecy.He credited figures like Stajano with paving the way for greater acceptance, stating that their courage in living openly has helped others feel less alone. “It’s never enough, there’s still a long way to go, but today it’s less arduous to show yourself as you are,” he observed.
Sgorbani’s writing, described by Sinigaglia as a “lightness that does not weigh,” presented a unique challenge for Ferrato. Despite the painful moments in Stajano’s life, the actor sought to embrace the inherent levity in her spirit. He described her as possessing “an arrogance that was also fragile,” and emphasized the importance of embracing vulnerability to authentically portray her strength.
The production aims to fill a void in public knowledge surrounding Stajano’s life. The play intends to introduce a “difficult,” “uncomfortable,” but ultimately forgotten character, giving meaning to a life that many are unaware of. “Stajano was a very fragile character, and this show simply aims to introduce a ‘difficult’, ‘uncomfortable’, but also forgotten character and to give meaning to his life, which few people know: a devil’s life, which many people marvel at when they listen to how many lives he actually lived,” Ferrato stated.
Navigating the complexities of portraying a pioneering gender transition required sensitivity and a deliberate avoidance of rhetoric. Ferrato acknowledged the potential for “unprecedented physical suffering” but focused on conveying the emotional journey through Sgorbani’s “pointed writing,” which he felt discouraged overly dramatic interpretations.
Several aspects of Stajano’s life particularly resonated with Ferrato, including her connections to the Dolce Vita scene and her friendship with Fellini, and also her audacious acts of self-expression, like walking down the street with a chicken. Though, he found the painful moments most formative, arguing that “it is indeed in the pain that you form.”
Ultimately, “Blessed Obscenity” delivers a powerful message: “Maybe you have to always live on the edge, from which you can fall, but play it, try.” Ferrato expanded on this sentiment, urging audiences to embrace risk and live fully, as if each day were both their last and eternal, echoing the words of Pablo Neruda: “I confess that I have lived.”
For Ferrato, this role builds upon a career of tackling “strong” stories and connecting with characters who embody “broken and aching hearts.” he described his previous work, particularly “Truman Capote,” as a turning point, allowing him to explore diversity and find common ground with complex individuals.
as the premiere in Bolzano approaches, Ferrato expressed a mix of emotions, describing it as a “priviledge” to tell Stajano’s story and anticipating a deeply emotional experience for both himself and the audience. “I expect to have a bit of goosebumps,” he concluded.
