Elisa Casseri 

Elisa Casseri is a writer, playwright and author. She has published Teoria idraulica delle famiglie (Elliot, 2014), La botanica delle bugie (Fandango, 2019) and the investigation Grand Tour sentimentale (Solferino, 2022). In 2015, she won the 53rda edition of Premio Riccione per il Teatro with L’orizzonte degli eventi a text subsequently selected by the Italian Playwrights Project and published in an anthology in the United States and Spain. In 2018, she wrote with Filippo Renda the play Circeo. Il massacro,produced by Teatro delle donne di Calenzano. In 2021, her anthology trilogy Trittico delle stanze (consisting of La teoria dei giochi, L’orizzonte degli eventi e Il polo dell’inaccessibilitàbecame a radio drama series for Scienza e fantascienza dal Vallea production of Teatro di Roma, directed by Manuela Cherubini. Author of the blogs Melotecnica and Memoirs of an Estathè drinker, she collaborates with Nuovi Argomenti magazine.
For InQuiete - Festival of Women Writers she wrote and performed the monologues Questo corpo sconosciuto (2021) and Tutti questi altri che non sono io (2022).
In 2022, her short story La dote was published in the anthology Data di nascitadited by Teresa Ciabatti and published by Solferino. Also in 2022, an article was published in the collection I figli che non voglio (Mondadori), edited by Simonetta Sciandivasci.
In 2024, she co-authored and wrote the TV series Antonia for which she won the Nastro D'Argento Speciale - SIAE Award for Screenplay. In the same year, she signed the screenplay for Elisa Fuksas's film Marko Polo which will be presented at the 19th Edition of the Rome Film Festival - and Ferzan Ozpetek's film Diamanti to be released in theaters in December.


Data di nascita

I figli che non voglio

«We are born every day, every time we find another piece of us, every time we discover ourselves different.». We come into the world blind. In the sense of unaware: exposed to a bombardment of experiences, unaware of who we are, uncertain of the blurred boundaries between the self and the world. Moving from perception to knowledge is a lifelong endeavor. And this is how we are born many times: perhaps with the discovery of sex, or with the first great pain, the first injustice. Birth can also be a death, and vice versa. What is this moment, how does it occur, at what cost? Eleven leading authors from the new Italian literary scene take on the task of narrating this turning point. Tales like gems that give us back a sense of the uniqueness of life experiences in the multiplicity of destinies, and illuminate a truth: perhaps this instant of epiphany has never been as significant and intense as it is today, for generations who are experiencing it earlier and earlier and who know how to recognize it with singular maturity. Teresa Ciabatti writes: «One never finishes being born, say the eleven writers, very different from each other, yet united by the generation. Being part of the generation that grew up alone, the mother boys as Achille Lauro calls them. Raised without adults as parents worked, and grandparents were not there (far away, dead). Here they are free children with the world at their fingertips - be it even a television or a computer through which to imagine».

A roundup of unorthodox interventions, full of intelligence and critical sense, an essential vademecum for anyone interested in the topic. A discussion that gives us excellent tools to "stop thinking that demographic winter is a moral or economic issue: it is, instead, a matter of perspective, imposing new lenses; it is a matter of political geography and reorganization of the world according to new criteria."
Demographic winter: and before us lie barren, frozen plains to put Game of Thrones to shame, echoes of Shakespearean tragedies resound in the mind. No more children are being made in Italy, where will our civilization go, but most importantly: who will pay our pensions? But what is the point of insisting that the only way to keep the system going is to procreate, even where women - to be precise, a minority of women quantified by ISTAT as 5 percent - despite being in a position to have children, do not want them? With respect to the issue of motherhood, schematism often win out and women find themselves represented either as victims of a country in which having children is a privilege - the precariousness of work, low wages, inaccessible kindergartens, the welfare state that does not provide as it should - or as a handful of cynical, superficial, careerists and future repentants destined for a lonely old age embittered by the regret of not having reproduced. Between these two poles there are the real people, to whom the interventions collected in this book give voice. Many women, but also some men, who have taken up the challenge launched by Simonetta Sciandivasci with lucidity and irony in the pages of "Mirror," a cultural insert of "La Stampa," a challenge to question why one becomes a parent or not, to reason about the different possible physiognomies of a family.

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