Anne Carson’s work Di vetro (Of Glass) defies any attempt at categorization or clear arrangement. It is neither a linear narrative nor pure poetry; rather, it’s a continuous flow of thought and image, oscillating between vivid memories and the unspoken. From this complex tapestry emerges the radio adaptation of Vetro, ironia e Dio by Anne Carson, set to air on Rai Radio3 on Saturday, March 21, 2026, at 8:30 PM, celebrating World Poetry Day.
This project, a collaboration between Emilia Romagna Teatro ERT / Teatro Nazionale and Bluemotion, finds an ideal home in the radio format for its fragmented and unstable writing, characterized by shifts and superimpositions. Jasmine Trinca lends her voice to the narrative, while Giorgina Pi’s direction works by subtraction, following the text’s inherent fractures rather than imposing a linear plot. Valerio Vigliar’s music doesn’t merely accompany but deeply engraves, opening new sonic spaces.
More than a simple narration, Di vetro represents a true journey. Carson skillfully interweaves heterogeneous materials: autobiographical elements, literary criticism, and poetry, assembling them without seeking a final synthesis. At its core is a female figure re-evaluating a finished relationship while immersed in reading Emily Brontë, creating two narrative planes that overlap without ever fully merging.
Jasmine Trinca
The return to the maternal home thus configures itself as a place more mental than physical. The mother is a near, yet veiled, presence, as if separated by a pane of glass. The father, ill and distant, remains a shadow in the background. Around them, everyday spaces become charged with memory and distort, while time shatters between past, present, and a more elusive dimension.
Emily Brontë is not just a literary reference but a figure that permeates the text, almost an alter ego. Her incisive and harsh writing becomes a tool for confronting pain, without softening it, acting as an restless companion.
The text proceeds through fragments, evocative images, and abrupt shifts. Among these, the 12 Nudi (Nudes) stand out – clear, at times violent visions – which do not explain but expose raw reality. More than telling a story, Carson stages a human condition: that of someone observing, exposed and unprotected.
In its radio transposition, this dynamism manifests as a fragile balance between voice, silences, and sound. The intention is not to “transport” theater to radio, but to allow the form itself to transform. And perhaps it is in this intermediate zone that Di vetro finds its most authentic space: where the word does not close, but continues to resonate and expand.
