Awarded by the punctual sell-out of the audience during his long Italian tour and greeted by an extraordinary success of critics and audiences, teens di vita returns to move on the stage of Argentina the poignant swarm of borgata boys born from the pen of Pier Paolo Pasolini. A real kolossal of anarchist vitality to give us back the pages of a vivid and impulsive Italy, furious and painful, overwhelming in its unscrupulous modesty.

With three directing awards for Massimo Popolizio (Ubu, critique and the masks) and behind a long Italian tour greeted by an extraordinary success and the sold-out audience, back Boys of life, real kolossal of anarchist vitality that makes move on a naked stage the poignant swarm of the “borgatari” Pier Paolo Pasolini. Born in 2016, forty years after the death of the great intellectual and poetic genius, the show was the first adaptation of the novel for the stage with the drama of Emanuele Trevi, which returns with grip the lyricism and ferocity of the language pasoliniana, a roman dialect invented.
Become since its debut a case for the theatrical, powerful and communicative, stormed by an enthusiastic audience the large and heterogeneous, Boys life continues to take us inside the pages of a humanity that is vivid and painful through the special energy on stage nineteen interpreters of the young sottoproletari, in their furious, impulsive, yearning, struggle with everyday life.
To return the vitality overwhelming that the small people of guys, the protagonists of the first novel that Pasolini wrote in 1955, is directed a unique blend of Popolizio that mixture of irony and hardness, boldness and modesty, in a fresco polyphonic on which the “narrator” Linen Pillow around as a “stranger” visiting, the mediator between audience and stage, the thread of all the stories. "Stories of lives" with which Popolizio us back to the grotesque of this swarm human by the high-rises of the suburbs moves to the center: "I tried to give life to a choral performance in which the actors are projected into situations that go from witness to witness, and in which the various parts are assembled by a fury collective, is the glue to the unfolding of history. A dramaturgy that does not have a psychological basis, but realistic, to refer to a certain way of saying and being of a certain Rome".