"Gap" arrives at the TsE: a show about pathological gambling
Art Against Addictions: A Spring Preview for the project "Gambling: Theater speaks to Generation Alpha" – Is Mirrionis / Theater Without Quarter 2025, promoted by Teatro del Segno with the artistic direction of Stefano Ledda as part of the Sardegna | Ruin is a Game 2026 program, with the endorsement and support of the Autonomous Region of Sardegna, the patronage of the Municipality of Cagliari, and the contribution of the Sardegna Foundation, in collaboration with CeDAC / Multidisciplinary Circuit of Live Shows in Sardegna, the Is Mirrionis Neighborhood Committee, and Kalaritana Media.
THEATER AND GAMBLING
"Gambling: Theater speaks to Generation Alpha" – part of the long-term project Theater Without Quarter / for a neighborhood without theater 2017-2026 – includes a series of events in the upcoming autumn, between October, November, and December (at the start of the new 2026-2027 academic year) at TsE in Is Mirrionis in Cagliari, aimed at teenagers, girls and boys between thirteen and seventeen years old, students of first and second grade secondary schools, "digital natives" who are particularly exposed to the pitfalls associated with various forms of online gambling. Following the viewing of a theater piece on the theme, there will be a moment of interaction and discussion with the author and performer, as well as psychologists and experts from Sardegna's SerD, with the aim of raising awareness of the dangers and potential harms inherent in misleading cultural models and the messages contained in advertisements, such as the invitation to "win easily" and the illusion of instant wealth with a "Scratch and Win" or a simple "click". It kicks off with a preview on Wednesday, April 1 at 9:00 am and 11:00 am, with two matinees for schools followed by an evening performance at 7:30 pm at the TsE Theater, located in the heart of Is Mirrionis in Cagliari, aimed at the adult audience as part of the Stasera Suono al TsE series (with a special invitation for teachers and administrators of the metropolitan city, psychiatrists and psychologists, university students, and psychology and psychiatry trainees).
A GAMBLER'S DRAMA
On stage is the drama of a gambler, with the show "GAP / Pathological Gambling - Ruining is a game," written, directed, and performed by the actor and director Stefano Ledda (Teatro del Segno production). Inspired by a news story and testimonies of gambling addiction victims and their families, with the precious consultancy of psychologists and experts, the show narrates the painful "descent into hell" of a man overwhelmed by his passion for video poker, to the point of neglecting work and relationships, accumulating debts and resorting to loan sharks just to continue playing, eventually losing everything.
A modern tragedy, an emblematic story reflecting numerous similar situations, where the protagonist, after experiencing the thrill of risk and the unexpected pleasure of winning, discovers that he belongs to the “defective percentage,” afflicted by a particular inclination towards the scientifically recognized obsessive-compulsive disorder, which once caught in the painful gambling spiral, cannot stop, not even in the face of losses. Instead, he persists, in the illusion of "recovering," spending a significant part of his days almost hypnotized in front of a slot machine screen, continuously inserting his tokens in an attempt to reproduce that initial euphoria.
"The show originates from the intention to magnify the phenomenon of technological gambling, demonstrating how the "innocent pastime" of video poker can easily turn into pathological addiction," emphasizes Stefano Ledda. "The piece comes to life through extensive research and nine months of interviews. It is, therefore, a real story with names, wives, jobs, children, friendships, unfolding before the audience on a minimalistic stage made of brief and essential signs. Signs that do not flatter poetry but impose themselves as cold and real nodes of a life story that 'happens' on stage, narrating the cyclical claustrophobia of addiction."
"GAP / Pathological Gambling - Ruining is a game" encapsulates in its title the inherent contradiction in the predisposition to gambling, which actually represents one of the most enjoyable modes of learning since childhood, as taught by great pedagogues. This capacity and function of the mind continue into adulthood and old age, manifesting in sports competitions, convivial rituals, and various board games where one tests their skills. Play is fundamental in human existence, allowing the imagination of situations, strategies, immersion in the plot of a book or film, as in a theater performance, and above all, to have fun in the etymological sense, escaping routine and boredom to experiment—and share—new emotions and fascinating adventures. However, in the pursuit of pleasure, the liking for games and particularly for gambling can unwittingly transform into a "trap," particularly during moments of vulnerability. Notably, the current economic uncertainty and precariousness favor the spread of gambling addiction and consequently, the increase in dependencies with serious social repercussions.
Delve into the mind of a gambler, navigating between the thrill of challenging fate, the ecstasy of wins, and the bitterness in the face of an (expected) defeat, "GAP / Pathological Gambling - Ruining is a game," with dramaturgy and direction by Stefano Ledda, also starring on stage, examines the phenomenon through the expressive power of theater, reflecting a prevalent issue often overlooked in the distraction or indifference tied to the stress of daily life, where its signs go unnoticed until it is too late.
A minimal and essential set evokes the bar counter and tables, rows of slot machines, as well as the seemingly protected home environment of a united and serene family, and the more ominous and dark places where violence erupts or loan sharks lurk, resembling the "stations" of a via crucis—a journey on the edge of the abyss where the peaceful course of a life illuminated by love and affections, in search of quiet happiness, suddenly mutates, changes direction under the influence of the gambling "demon."
At the center, a man alone with his thoughts—and his nightmares—retraces the significant moments of his story, especially the crucial moment where a simple act, the casual decision to insert a coin into a video poker machine, alters the course of events: winning sometimes can be dangerous. The illusory sensation of being kissed by luck, the money earned effortlessly, but above all, the subtle thrill of risk can produce a momentary exhilaration, a vague euphoria. Yet for some, unaware "predestined" individuals, aided by particular circumstances, it can induce a form of "addiction."
A predisposition, a fragility, a unique tendency to dependencies that may not have manifested previously, similar to allergies sometimes. The protagonist, a young typesetter, with a secure job, already engaged and on the brink of marrying the woman he deeply loves, discovers suddenly his vulnerability. However, he fails to recognize it, never having heard of it, continuing to believe that it is merely an "innocent pastime," and is consequently engulfed disastrously by video poker's allure.
Almost bewitched by the sequences and combinations of symbols and cards, figures, and numbers, he spends increasingly more time in front of the screen, neglecting friendships, family, and work. Meanwhile, the losses continue to mount, partly due to the absurd belief that he can—or rather, must—recover. Instead of stopping, he persists, wagering more and more, gradually isolating himself, believing he can shield his secret, eventually distancing himself from reality.
The performance narrates an emblematic story, inspired by real events, supported by statistics, scientific studies, documents, and interviews, to highlight the hidden pitfalls of gambling and the increasingly pervasive phenomenon of addiction amidst the proliferation of opportunities and outlets to try one's luck through lotteries, scratch cards, bingo, online gaming, and traditional gambling options.
The protagonist is an entirely "normal" and common individual, presenting no clues for himself or others that anything other than a future rich in professional and personal successes awaits him. Yet, once entrapped in the dangerous spiral due to what once seemed like a tendency to "vice" and is now identified as a recognized pathology—the non-substance addiction, where gambling or rather, the risk-taking, reveals itself as formidable as drug addiction.
"GAP / Pathological Gambling - Ruining is a game" confronts this issue directly and unequivocally through the immediacy and expressive power of theater, touching upon a pressing and contemporary subject with severe economic and social implications. During periods of crisis and uncertainty, lacking prospects and fears for the future, the phenomenon of gambling addiction paradoxically intensifies. Like any weakness, physical or mental, victims tend to conceal or downplay the severity of their illness, starting from themselves and their families.
A modern (anti)hero symbolically battles his demons and ghosts on the stage, embarking on a solitary struggle, a veritable "descent into hell" where he discovers a parallel world unbeknownst to him. Moreover, he grapples with his vulnerability, culminating in a confrontation with the reality of his circumstance. The show aligns with a long tradition—amid literature and cinema—from Fyodor Dostoevsky's "The Gambler" to Alexander Pushkin's "The Queen of Spades" and films like Martin Scorsese's "Casino," George Roy Hill's "The Sting," featuring Paul Newman and Robert Redford, and Aaron Sorkin's "Molly's Game." These works explore varied aspects of the subtle allure of gambling throughout different eras, across all societies and cultures, transforming the pleasure of gaming into a hazardous and irresistible temptation with unpredictable (and sometimes tragic) consequences.
THE PROJECT
"Gambling: Theater speaks to Generation Alpha" – Is Mirrionis / Theater Without Quarter 2026 aims to reach up to a thousand spectators over three months, engaging schools in Cagliari and its metropolitan area, with the collaboration of teachers and administrators through peer-to-peer communication to spread the message among adolescents. Providing knowledge and raising awareness on this sorely contemporary issue, the project aspires to establish a generational firewall, stimulating the critical thinking of young people to develop a deeper understanding of a phenomenon that often closely involves them, recognizing the initial signs and symptoms of distress.
An ambitious yet necessary project to combat the spread of pathological gambling—and other ludopathies—through the cultural and symbolic language of art. Theater emerges as a potent tool, capable of emoting, entertaining, but most importantly, of provoking reflection and awakening consciences. A secular ritual enables confronting personal dramas and fears, dismantling prejudices, and addressing delicate and complex issues, transforming into a shared experience, sparking analysis and discussions in various public and private settings— whether schools, families, or friends. The proliferation of technology paradoxically, but not surprisingly, fosters isolation and a tendency to escape into a "virtual" reality, evading personal and direct contact behind screens, continuously "connected" to the world, inundated with a constant influx of information. However, amidst the vast data, forming a personal opinion becomes challenging—and one often experiences profound solitude. Unfortunately, phenomena like bullying, cyberbullying, body shaming, and hate speech demonstrate the ease of impacting and hurting vulnerable individuals through online platforms, leading to traumatic or irreparable outcomes.
If schools are the arena of life—one of the few spaces left for dialogue and contemplation—their strategic role in shaping tomorrow's citizens is evident. The synergy with theater, the instant and interactive medium, where the performance embodies the interaction between artist and audience, kickstarts a virtuous cycle, transforming classrooms and stages into modern agoras, venues for dialogue, testing democracy's principles.
"Gambling: Theater speaks to Generation Alpha" – Is Mirrionis / Theater Without Quarter 2026 represents a challenge, or rather a starting point in the fight against pathological gambling and other non-substance addictions. The crux lies in understanding the phenomenon to defend against it and stem its spread, correctly identifying signs—such as restlessness, irritability, discomfort discussing the issue, withdrawal, increased gambling frequency and duration, heightened stakes, or budget management difficulties. The project arises from trust in the intelligence and sensitivity of the youth, believing that understanding a mechanism eases escaping its grip, and that empathy and friendship are powerful "weapons" against the walls of silence, fear, and loneliness.
The project "Gambling: Theater speaks to Generation Alpha" - Is Mirrionis / Theater Without Quarter 2026 is a part of the long-term project "Theater Without Quarter/ for a neighborhood without theater" 2017-2026 curated by Teatro del Segno under the artistic direction of Stefano Ledda – in collaboration with the Parish of Sant'Eusebio, with support from the Assessorate of Public Education, Cultural Heritage, Information, Entertainment, and Sports of the Autonomous Region of Sardegna, and with a contribution from the Sardegna Foundation, endorsed by the Municipality of Cagliari.
The project "Theater Without Quarter/ for a neighborhood without theater" 2017-2026 features the forefront involvement of Teatro del Segno, alongside the Casa del Quartiere–Is Mirrionis, the Parish of Sant’Eusebio, Teatro Tages, the International Academy of Light, the Cultural Musical Association Chamber Orchestra “Johann Nepomuk Wendt,” the Children's Company of Cagliari directed by Monica Zuncheddu, and CeDAC / Multidisciplinary Circuit of Live Shows in Sardegna, with media partner support from Kalaritana Media.
