Born in Naples in 1992, Alessandro Paschitto graduated from the Directing Course at the Paolo Grassi School of Dramatic Arts in Milan in 2021. His training includes workshops at the Venice Biennale with Deflorian/Tagliarini, Martin Crimp, and Letizia Russo and Linda Dalisi as part of the 2018 Playwrights Programme. In 2022, he was selected by Lucia Calamaro for Scritture, the itinerant school of playwriting. His work has received several awards and recognitions, including the Critics’ Award (2026), Second Prize at the Premio InediTo (2022), and the Premio Nuove Sensibilità 2.0 (2022). He was also shortlisted twice for the Premio Hystrio Scritture di Scena (2024 and 2022).
Paschitto wrote Animali selvatici, based on Henrik Ibsen, for TPE – Teatro Piemonte Europa, directed by Paola Rota. In 2021, he founded the theatre company Ctrl+Alt+Canc, of which he is artistic director. With the company, he won the Premio Leo de Berardinis twice and developed several productions in collaboration with the Teatro di Napoli – Teatro Nazionale, including Vita di San Genesio (2025), Omissis (2022) and Opera Didascalica (2021), the latter selected for In-Box 2022.
His project Afànisi, produced by the Campania Teatro Festival, received the In-Box Generation Award 2024 and was presented at the Hystrio Festival 2024. It also received the Critics’ Jury Award at Direction Under 30 (2023), was included in the Risonanze dossier (2024), and was selected for several national programmes and festivals, including Kilowatt Festival (L’Italia dei Visionari 2023), Up To You 2023, and Odiolestate 2022 at Carrozzerie n.o.t. Paschitto is among the playwrights featured in Nuova Scena Italiana nel Mondo, an initiative promoted by the Italian Ministry of Foreign Affairs and International Cooperation in collaboration with Riccione Teatro.
Selected Play: Sesso [Sex], 2024
Synopsis: The title is the only word that never appears in the play, yet it operates as its invisible centre. The text asks what it means to be “sexed”: to be born into the oppositions through which language produces meaning and to negotiate continuously with the world and with others. Structured like a roulette wheel, it moves rapidly through scenes, characters and situations, combining paradox, current affairs, fiction, dramatic narrative and brief sketches without reducing its questions to a single thesis.
MEDUSA relevance: The play examines gender, language and relational conflict while presenting identity as fragmented and socially constructed. Its shifting form – moving between reportage, vaudeville and fleeting sketches – makes language itself the site of ideological conflict and offers translators, directors and audiences a deliberately open field of interpretation.