Puttana traps you in its intimacy from the first moment. Festi describes how the headphones collapse the space until she’s performing inside the audience’s heads as much as her own, navigating that strange mix of control and vulnerability. Her shifts between identities carry the same charge — especially the moment she steps into the middle‑aged man, a voice that still hits her with anger, pleasure, and a kind of unsettling satisfaction. The rapid transitions work because she’s interpreted her role line by line, each character anchored in its own emotional image and mental room.
What gives the piece its force is her refusal to soften anything. She leans into the ethical weight, the complicity, the silences that pin everyone in place. The collaboration with Corradini let her work without armour, drawing on her twenty‑year‑old self to shape Laura as someone who never collapses into victimhood. Summerhall sharpened the political edge, New York confirmed the universality, and performing it night after night turned the role into a meditation. Across the interview, one thread keeps surfacing: vulnerability as a deliberate act of power, and a commitment to reaching something stripped‑back and honest on stage. Here’s our interview with Beatrice Elena Festi.
Performance, embodiment, technique
Puttana places you inside a binaural, three‑dimensional soundscape. How did performing inside headphones change your physical and emotional approach to Laura?
“Performing while wearing wireless headphones definitely changed the way I inhabit the stage… The distance between me and the audience — who are also wearing headphones — shrinks, making the experience intimate and personal… By wearing headphones myself, I also become a spectator of my own voice: this gives me control, but it also makes me vulnerable… Thanks to the headphones, a kind of short circuit occurs: Laura becomes a tangible presence in my ears and in my head.”
You embody several characters around Laura — student, sex worker, husband, wife, young man. Which identity demanded the biggest shift in your internal state?
“The first time I heard my own voice as a man it was a shock… Being able to play a middle-aged man by ‘wearing’ his voice is an incredibly powerful experience… Playing him brings on a mix of anger and pleasure… he always gives me a sense of satisfaction while I play him.”
The show’s fragmented structure requires rapid transitions. How do you keep emotional coherence while moving between characters so quickly?
“I associate a specific image and a specific feeling with every line of the text… It’s a long process — it took three years — in which I worked to build automatic reactions… Each character has their own mental space that I can enter and leave quickly, helped along by their different voices.”
Themes & ethics
The piece confronts judgement, violence, and the commodification of women’s bodies. How do you navigate the ethical weight of representing these realities on stage?
“I believe that engaging with uncomfortable subjects is at the heart of what I do… questioning yourself, examining social and political issues, is an essential part of any real artistic exchange… If art isn’t uncomfortable… then what’s the point? What’s the point of being reassured?”
Puttana deliberately places the audience in a position of complicity. What does it feel like to perform a work that refuses moral reassurance?
“In our show the audience becomes complicit… We’re all implicated, always… From the moment I step on stage I make eye contact with every member of the audience… The audience has no way out… it’s vital to put ourselves on the line, to sit with the discomfort and confront our own dark sides.”
There are moments where silence becomes confrontational. What is the most difficult silence in the show for you to hold?
“The hardest moment is definitely the direct exchange with the audience… Physical closeness, the gaze and the silences let me dig into people’s souls… I feel vulnerable and powerful at the same time… There’s no escape route for anyone; we’re in it together.”
Process & collaboration
You’ve worked with director Mirko Corradini on multiple TeatroE projects. What aspects of his direction made this collaboration particularly effective for such an intimate piece?
“Four years ago… I understood straight away how much Mirko Corradini cared about the project… There has never been any arrogance or superficiality… Mirko is a director who creates a performance bit by bit… and he’s very careful to create a safe space where I can feel at ease.”
How did the rehearsal process shape the emotional core of Laura’s story? Were there moments where the material felt too close or too exposing?
“To find Laura, I drew on my twenty-year-old self… I put my own personal vulnerability at Laura’s service: in a show like this you can’t hide… humanity has to seep out of every gesture, every word.”
What discoveries did you make about Laura during rehearsal that changed how you performed her?
“Laura is never a victim… Even when she momentarily loses control, she finds a way to regain it… The ending, however brutal, shows this resolution… Acting in another language was also illuminating… In English, Laura is more brazen and more self-assured.”
Fringe experience
Summerhall is known for politically charged work. How did performing Puttana in that environment influence your relationship to the piece?
“Performing at Summerhall was an honour… they always engage with topical, hot-button and uncomfortable subjects… On stage I felt at ease, because I knew I was in an environment that would protect me.”
What surprised you most about how Edinburgh Fringe audiences responded to the show?
“The Summerhall audience was a mixed one… far more men came to see us… They proved more receptive to the rawness of the performance… The audience’s reactions were positive and open to engagement.”
Did performing the show daily at the Fringe change your understanding of Laura or the characters orbiting her?
“Going on stage every night… becomes a kind of meditation… Every night Laura is different… I always tried to be as honest as possible… Laura is a very human character… she doesn’t conform to a prejudice.”
International recognition
Puttana’s Off‑Broadway run at SoHo Playhouse happened before Edinburgh. How did that New York experience shape your sense of the work’s impact?
“Performing in New York before Edinburgh was an excellent training ground… The American audience… very engaged and warm… It was the New York audience that convinced us Laura’s story was universal.”
Artistic development
How does Puttana connect to your broader artistic interests in vulnerability, power, and spectatorship?
“Puttana has allowed me to grow enormously… It’s a show that has taught me… about limits, about letting go on stage, about reaching a naked truth… I’ve always been drawn to realism and social themes… multifaceted, even ambiguous characters — ones that dig deep — appeal to me.”
Future direction
After a role this demanding, what kind of work do you feel drawn toward next? What are your plans?
“With TeatroE… we’re working on various ideas for a new production… Another show that, through technology, will let us close the distance with the audience… I’d like my work to always speak to people’s humanity… I do believe art can change the world, and in my own small way I try to do my part.”
Our review of Puttana is here
PUTTANA was one of the most talked‑about international productions at this year’s Fringe: intimate, unsettling, and formally daring. It confronts prejudice, judgement, sex work, and the quiet violence of how society enters other people’s lives. Ahead of its wider international run, Counter Culture presents this in‑depth conversation with director Mirko Corradini, exploring the dramaturgy, ethics, sound design and collaborative process behind the production.
