The performance of the “Pastorale” on January 6th in Santa Elisabetta derives from the text of Father Fedele Tirrito from San Biagio Platani. The dominant theme is that of the pastoral world awaiting the birth of the baby Jesus, but the performance in Santa Elisabetta diverges almost completely from the original text, shifting the narrative into mime and improvisation placed in the hands of the performers.

In Santa Elisabetta, the Pastorale unfolds over the entire day of the Epiphany, with a mobile action involving various characters—the Curatulu, different shepherds, the overseer, various workers, among whom the Curatulu himself (also a shepherd) sets out on a donkey in search of the dog Giurdanu before departure. All are dressed in traditional pastoral and peasant attire (except for the Magi, who are present as well but dressed in classical garb), and each plays a specific role in the staging—essentially a dramatized transhumance of the shepherds and the full expression of their activities. These actions blend theatrically with the arrival of the Magi and the announcement of Christ’s birth.

Three figures hold a prominent role: the Cavarcatura, representing respectively u patruni (the master), u suprastanti (the overseer), and u camperi (the field guardian)—those responsible for the fate of the estate.

The central figure of the entire pantomime is “Nardu”. Nardu metaphorically embodies various characters: the lazy one, the fool of the nativity, or, seemingly, the simpleton. Yet, he is in fact a cunning buffoon, mocking everyone around him. So ingrained was the figure of the foolish Nardu that, many years ago, when the peasant and pastoral society was still vividly alive, the role was entrusted to someone who, in real life, was genuinely perceived as intellectually simple—a local “naïf.”

The performance begins early in the morning with the appearance of bagpipe players, drummers, and a musical band who, symbolically, roam through the village streets announcing the shepherds’ arrival with their flocks. At exactly 1:00 PM, amid the loud blasts of rifle shots, Nardu makes his entrance, dressed in ragged clothes, face smeared in white paint, and leaning on his shepherd’s staff, like a man crucified. As the shepherds shout, Nardu is dragged into the village square, which by now has taken on the appearance of a working farm. Chaos ensues, and Nardu is at the very heart of the comic madness.

The performance proceeds in a sequence of dramatic tableaux, where, more than in the past, gesture and movement have gained prominence: preparing ricotta, the rabbit hunt (now abolished), the shepherds’ dinner, and the killing of the wolf. In each scene, Nardu is tasked with various duties, always carried out in a clumsy and disastrous manner. Nardu, in short, with his antics, represents a reversal of order, a symbol of primordial chaos before the establishment of divine balance.

At the end of this secular segment, the Pastorale takes on a religious tone linked to Epiphany: a guiding star leads an angel followed by three knights (the Magi of biblical tradition) to a stable housing the Holy Family. Ironically, it is Nardu who arrives first, unwittingly, and, overcome by emotion, falls to the ground, breaking a clay jug he holds in his hands.

The Pastorale of Santa Elisabetta is an ancient and captivating ritual that continues to convey its symbolic power with striking clarity. Each year, it reclaims its intensity, drawing a wide audience that extends well beyond regional borders. This tradition represents a prime example of how dormant but never forgotten local customs can serve as bridges between past and present, uniting the community through a profound blend of faith, culture, and identity.

 

This element has been included in the Register of Intangible Heritage of local interest of the Municipality of Santa Elisabetta, as part of Intervention 5 “Activation of the Observatory on the Intangible Cultural Heritage of the Territory through the application of the REIL methodology – Register of Intangible Heritage of Local Interest”, within the “Mito, storia e tradizioni agropastorali” project, funded by the NRRP (National Recovery and Resilience Plan), Mission: Digitalisation, innovation, competitiveness, culture and tourism, Component: Tourism and culture 4.0, Investment 2.1 “Attractiveness of villages.” CUP: E69I22000140006.