1983 » Italy » Scénická a kostýmní tvorba národní expozice

Itálie

The contemporary theatre, in view of the type of texts it stages, in view of the stage direction methods it uses, and in view of its acting methods, provides opportunities for stage design which are difficult to define. This is also among the causes of the situation where the stage design principle as such is not always precisely linked to what is happening on the stage. It is thus necessary to re-examine, also from this point of view, the unique relation between the audience and the stage, which is so difficult to reproduce. We must seek and newly find the relation between the audience and the actor. The actor is no longer a free person, he is part of a production. Today's audiences are very attentive, they require precision, their perception is very broad. Stage designs are usually traditional and they depend upon stage mechanisms while preferring approaches which are the most direct exposition of the play; for this exposition they offer the most expressive and the most concise theatrical form. Stage design inventiveness attempts to be as functional as possible and to define as precisely as possible the confrontation which occurs between the external world and the inner world of the play, while at the same time increasing its expressivity with costumes which help to uncover the essence of the characters, even if they sometimes give up on creating an image of reality or even appear to be a violition of reality. ALTRO (OTHER) was created in Rome in 1972, with the aim of developing creative work based on two complementary presuppositions: the group, and intermedia. Group work means first of all, of course, choosing themes, times, activities and procedures in a group, and discussing ideology (with a common Marxist basis). But in particular it means the substitution wherever possible of the group for the individual, even in individual specific media, such as space, vision, language, e t c Thus techniques of creative group work are elaborated for each medium, while personal specializations tend increasingly to be reduced to auxiliary facts. Intermedia work does not mean simply superimposition or juxtaposition of (even group) contributions in various media. Generally, when media are combined, either they annul one another or they struggle for prevalence, but they do not lose their individuality. With intermedia work, on the contrary, individuality must be lost, and the individual media must finally be destroyed as isolated languages, replacing the illusion of their autonomy with an ever greater approximation of the actual functioning of the mind. Indeed the mind works 'intermedially' from birth, and the isolation of individual media is an artificial operation.

Exhibiting artists / ateliers

• Roberto FRANCIA

Additional information: Born in Rome. Since 1963 he has been cooperating with L. Damiani at the Teatro Stabile in Bologna, as well as designing stage sets for other Italian theatres. He participated in the PQ 1975, where he received a Silver Medal for the stage design for Shakespeare's Hamlet and m the PQ in 1979.

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Exhibiting works

• : (Romeo and Juliet), (Teatro Stabile di Bolzano), 1980, Director: M. Bernardi,
• Paolo BREGNI

Additional information: Born in 1937 in Milan. As a stage designer he has been cooperating with theatres in Italy and abroad. His collaboration with stage director G. Strehler at the Piccolo Teatro in Milan is most significant. He participated in the PQ in 1979.

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Exhibiting works

• : (The Good Woman of Setzuan), (Piccolo Teatro di Milano), 1980, Director: G. Strehler,
• : (André Chénier), (Teatro alla Scala di Milano), 1982, Director: L. Puggelli,
• Alberto Burri

Additional information: Text from the Catalogue PQ1975: ○○○○○ Born in 1915 in Citta di Castello.By profession a physician /doctor of me- dicine/, he began to paint while in a prisoner of war camp in Texas, USA, where he was from 1943. Since the end of World War II he has devoted himself to painting; he settled in Rome but often visits Citta di Castello and the US. In 1955 he married the American dancer and choreographer Minsa Craig. His rationalistic abstract paintings proclaiming freedom of artistic creatvity were first successful in 1949. Burri's cycle Burning, under the influence of tachism dates from 1956. After 1958 he made Metals, Wood and Plastics, whose essence is in no case determined by the value of the material - he uses scrap material, which has its own history and past /Argan/. At the Teatro continuo Burri uses cement and steel.The Adventures of a Poor Christian by Silone holds a special place in his work for the theatre and stage desings, as well as the stage sets for Pistoni's ballet in the Teatro alla Scala in Milan and the stage sets for the Minsa Craig Ballet at the Teatro dell'Opera in Rome.○○○○○ Text from the Catalogue PQ79:○○○○○ Born in 1915 in Citta di Castello. His original profession is a physician; he began to paint in a POW camp in Texas, USA , where he was from 1943. After the end of the war he devoted himself entirely to painting and settled in Rome, but often visited Citta di Castello, as well as the US. In 1955 he married the American dancer and choreographer Minsa Craig. He was first successful in 1949 with rationalist abstract paintings proclaim ing the freedom of artistic creation. In 1956 he produced a collection of ceramics influenced by Tachisme. After 1956 he began to work in metals, wood and plastics - the value of these pieces is not in the price of the materials used, since Burri mostly uses scrap material. From among his designs of theatres we must mention the Teatro Continuo where he used steel and concrete at the Sempione Park in Milan in 1973 at the XVth Triennial, in the section devoted to art and the city; the theatre was placed on a green lawn framed on the one side by the Sforza palace and a Triumphant Arch on the other. Also his design of an open theatre in the town of Arcevia near Ancona, built within the framework of the construction on the Comunita Esisten - ziale should be mentioned. Among his stage designs his sets for Pistoni's Ballet Spirituals, produced in 1963 at the La Scala in Milan was of great interest, as well as those for Silone's The Adventures of a Poor Christian played at San Miniato al Tadesco in 1969, for November Step, a ballet by Minsa Craig produced in 1972 at the Teatro dell'Opera in Rome and for Wagner' s Tristan and Isolda at the Teatro Regio in Turin in 1976. He participated in the Prague Quadrennial in 1975, in the section for theatre architecture.

Exhibiting works

• : (Tristan and Isolde), 0
• Maurizio Balò

Additional information: He started his activities at the beginning of the 1970s in Florence co-operating with the Teatro Universitario and the Teatro della Convenzione and the group Gruppo della Rocca. Since 1975 his work has been connected with Massimo Castri's art of stage directing and in fact all stage and costume designs for Castri's stagings are works by Mauricio Balo. In the 1980s Balo started co-operating with Giancarlo Cobelli, another renowned personality, with whom he has been designing opera productions. Later the circle of his professional relations has extended by including Cesare Levi.

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Exhibiting works

• : (The Damnation of Faust), (Teatro Comunale di Bologna), 1982, Director: G. Cobelli,
  

  

  

  

  

  

  

  
  
  
• : (The Life I Gave You), (Teatro Grande Brescia), 1978, Director: M. Castri,
  

  
  
  
• Chiara Defantová

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Exhibiting works

• : (Love's Labour's Lost), (Teatro Stabile di Bolzano), 1982, Director: M. Bernardi,
• Otello Sarzi Madidini

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Exhibiting works

• : (The Ghostly Gondola), (Teatro il Setaccio Reggio Emilia), 1979, Director: O. Sarzi — G. Marchesini,
  
  
  
• : (Don Quijote de la Mancha), (Teatro il Setaccio Reggio Emilia), 1978, Director: O. Sarzi — M. Benassi,
• : (Genevieve of Brabant), (Teatro il Setaccio Reggio Emilia), 1973, Director: O. Sarzi,
  
  
  
• : (The Castle), (Teatro il Setaccio Reggio Emilia), 1981, Director: O. Sarzi — G. Marchesini,