{"id":32399,"date":"2024-10-14T16:36:38","date_gmt":"2024-10-14T14:36:38","guid":{"rendered":"https:\/\/www.teatrodonizetti.it\/the-archive-of-wonders-the-drama-seasons-of-the-donizetti-theatre\/"},"modified":"2024-10-14T16:36:41","modified_gmt":"2024-10-14T14:36:41","slug":"the-archive-of-wonders-the-drama-seasons-of-the-donizetti-theatre","status":"publish","type":"page","link":"https:\/\/www.teatrodonizetti.it\/en\/the-archive-of-wonders-the-drama-seasons-of-the-donizetti-theatre\/","title":{"rendered":"The archive of wonders: the drama seasons of the Donizetti Theatre"},"content":{"rendered":"

During the emergence from Covid-19, the Donizetti Theater Foundation offered a streaming cycle of prose performances presented in past years on the stage of the Donizetti itself and other theaters in the city. “The Archive of Wonders: the Donizetti Theater’s Prose Seasons”<\/strong> is the explanatory title that Maria Grazia Panigada<\/strong>, Artistic Director of the Prose Season and Other Paths, chose for an initiative that aimed, first and foremost, to highlight and make usable the rich archive of films and much other material in which the history of the theater itself is kept. With this project, a first step was traced towards the enhancement of the archive, which becomes a valuable place at the service of the public, a space in which memory-making is a source of stimulation, remembrance, reflection and enrichment.<\/p>\n<\/div>

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The time of waiting for theater closures, due to the pandemic, and the time of work at the Donizetti Theater, for renovation, have revealed to us even more how important it is to guard the heritage that has been handed over to us and to enhance it. We want to start by going through that precious place, a magical cave of time, which is the archives of the Donizetti Theater Foundation. Looking at all the material preserved inside it gave rise to the idea of asking some artists, actors and authors to be allowed to show one of their performances to give birth to a small online review. The cycle “The Archive of Wonders” is the first act with which we want to share with our audience the work of excavating and rearranging the materials of memory <\/em>.<\/p>\n

Maria Grazia Panigada<\/strong><\/p>\n<\/div>

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<\/i>Watch the service of tgr Lombardia dedicated to the project<\/span><\/a><\/div>
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The review<\/span><\/h3>\n<\/div><\/div><\/div>

<\/i><\/i><\/span>Racconti di giugno<\/span><\/a><\/h4><\/div>
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The first show to return virtually to the stage is Racconti di giugno<\/em><\/strong> by and with Pippo Delbono<\/strong>, filmed on Feb. 18, 2010 at the Donizetti Theater as part of the Altri Percorsi review.<\/div>\n
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Racconti di giugno<\/em>, a production of Compagnia Pippo Delbono and Emilia Romagna Teatro Fondazione, is a kind of logbook, a tale of introspection on the hidden meaning of relationships, on the side of desires not expressed but shown, on curiosity for others. An author-actor confesses himself without reticence and with modesty in a dynamic of chronicles and flashes of memory, zigzagging between the adventures of stage and lived life. Memory and narrative, then, overlap: a chair, a small table and a bottle of beer is all that is needed for the actor, who alternates stories in a linguistic footing, a slippage of the expressive code made immediately perceptible by the lights and music maneuvered by Pepe Robledo. <\/div>\n
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Streaming<\/strong>: viewable for free on Vimeo<\/a>. Viewing of the show is preceded by a short video introduction by Pippo Delbono.<\/div>\n
Schedule<\/strong>: from 6 p.m. on Friday, April 9 until midnight on Sunday, April 11, 2021<\/div>\n
Duration<\/strong>: 85 minutes<\/div>\n
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<\/i><\/i><\/span>L'et\u00e0 dell'oro<\/span><\/a><\/h4><\/div>
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The second show to be streamed is L’et\u00e0 dell’oro<\/em><\/strong> by and with Laura Curino<\/strong>, filmed in March 2003 as part of the show Altri Percorsi.<\/div>\n
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In L’et\u00e0 dell’oro (The Golden Age<\/em> ) Laura Curino tells in an autobiographical key the story of a generation that experienced childhood in an Italy that was changing, in the midst of an economic rebirth; a generation finally free from the destitution and lack of work that characterized previous generations. “The Golden Age” is thus the age of childhood, “where everything was joy and beauty and there was no evil or pain,” says the actress and author herself. It is also the age of the economic boom experienced in Valenza Po, a town with a long goldsmithing tradition. The viewer is then taken on a journey back in time, through the memories of Laura as a child, from birth to age eight. It is a journey full of adventures (bicycle rides, twenty-cent ice creams, her grandmother’s soporific readings, the first days of school, her first communion, the simplistic communism of working-class and peasant Italy that so frightened the patronages) and encounters with a variety of characters: family, friends, “fairies.” Encounters with predominantly female figures: “I was raised in a harem,” Laura Curino points out. But the golden age unfortunately slowly goes away, not without pain and regret: it is corrupted by school and the responsibilities of the adult world. There is no shortage of laughter in the show, but what prevails is nostalgia for that “golden” period of life. <\/div>\n
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L’et\u00e0 dell’oro<\/em> by and with Laura Curino<\/div>\n
directed by Serena Sinigaglia<\/div>\n
Maria Spazzi scenes<\/div>\n
lights Alessandro Verazzi<\/div>\n
music choices Sandra Zoccola<\/div>\n
in dramaturgical collaboration Michela Marelli<\/div>\n
production Teatro Stabile di Torino<\/div>\n
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Streaming<\/strong>: viewable for free on Vimeo<\/a>. Viewing of the show is preceded by a short video introduction by Laura Curino.<\/div>\n
Schedule<\/strong>: from 6 p.m. on Friday, April 16 until midnight on Sunday, April 18, 2021<\/div>\n
Duration<\/strong>: 95 minutes<\/div>\n
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<\/i><\/i><\/span>Lo straniero<\/span><\/a><\/h4><\/div>
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Third show to be streamed is Lo straniero<\/em><\/strong> with Marco Baliani<\/strong>, filmed in April 2003 at the Donizetti Theater as part of the show Altri Percorsi.<\/div>\n
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Marco Baliani is not a performer capable of being anyone: he feels that he belongs to certain characters with powerful souls. Like Kohlhaas<\/em>, the hero of Heinrich von Kleist who dies choosing his own condemnation, as well as Peter Schlemhil<\/em>, the character of Adalbert von Chamisso who leaves outcast in the world without his own shadow anymore. Foreigners both, Baliani chose them for his most intense performances, where there was nothing but the power of the word, the power of the voice that tells and like a chisel sculpts figures. Kohlhaas and Schlemhil were thus joined by Meurseault, the stranger from Albert Camus’ novel, already recreated by Baliani for radio. Again an individual who does not recognize himself in the rules of a world we pompously call civilized, the man with the wounded soul, who wholeheartedly would like to feel that he is part of a society that instead expels and marginalizes him. “A wonderful and terrible contradiction,” says Baliani, “in which lies their sickness and their strength. In it, these heroes without heroism glimpse the mirage of an impossible peace, the promised land that recedes on the horizon, but which they would nevertheless always like to be present and friendly.” It is a feeling that Baliani tries to make palpable in the play, to which director Mario Martone has offered the contribution of his original film inserts “<\/em>Camus’Lo straniero<\/em> is one of those life stories that have long inhabited a special garden of mine, a place where I cultivate friendships and kinship and where I have been going for years drawing a secret map of references and treasures. In this garden Camus has put down roots of oak, deep, solid,” the actor adds. <\/p>\n<\/div>\n

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Lo straniero<\/em>
\nby Albert Camus
\nwith Marco Baliani
\ndirection Maria Maglietta
\nfilm inserts Mario Martone
\ndramaturgical adaptation Maria Maglietta and Marco Baliani
\nscenes and costumes Carlo Sala
\noriginal music Luigi Polimeni
\nproduction Teatro Metastasio – Stabile della Toscana<\/p>\n<\/div>\n

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Streaming<\/strong>: viewable for free on Vimeo<\/a>. Viewing of the show is preceded by a short video introduction by Marco Baliani.<\/div>\n
Schedule<\/strong>: from 6 p.m. on Friday, April 23 until midnight on Sunday, April 25, 2021<\/div>\n
Duration<\/strong>: 92 minutes<\/div>\n
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<\/i><\/i><\/span>Ivan<\/span><\/a><\/h4><\/div>
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Fausto Russo Alesi stars in the fourth streaming event that sees the show go online Ivan<\/em><\/strong>, which premiered nationally at the Teatro Sociale in February 2017 as part of the Altri Percorsi review.<\/div>\n
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The show’s director Serena Sinigaglia introduces “her” Ivan<\/em> this way, “I love the classics. I love the great Russian literature of the 1800s because in it men still dared to ask the why of things, dared to face the great themes of existence, a rather unusual exercise of the spirit for our noisy times. To indulge in reading The Brothers Karamazov<\/em> is a journey through time through men, into man. And here stands out a man among men, or perhaps he is just a boy too mature for his years, the second of the Karamazov sons, the most tormented, the most absolutely human: Ivan. Man and all humanity as seen through the eyes of Ivan Karamazov, that is our journey. The Brothers Karamazov according to Ivan, if you will.” “I think it is a great opportunity the confrontation with such an important text,” says Fausto Russo Alesi before the debut at the Teatro Sociale, “The Brothers Karamazov<\/em> is an endless masterpiece and the path we decided to take focuses on telling one of the main characters, with his conflicts and weaknesses, “a man” who questions the most complex questions of life and the limits of human nature. So, with Ivan <\/em>we have the opportunity to ask, together with the audience, important questions. What interests me very much is to reflect precisely on human weakness, on what man has to face in his relationship with life and with himself. In the text every word, every sentence is a drawer to be opened to see what is inside: “save us from ourselves” is one of them. In these words is contained much of the work I will have to focus on.” <\/p>\n<\/div>\n

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Ivan
\n<\/em>freely adapted from The Brothers Karamazov<\/em> by Fedor Dostoevsky
\nrewrite Letizia Russo
\nconsulting Fausto Malcovati
\ndirection Serena Sinigaglia
\nscenes Stefano Zullo
\nwith Fausto Russo Alesi
\n<\/strong>production ATIR Teatro Ringhiera and Teatro Donizetti Bergamo<\/p>\n<\/div>\n

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Streaming<\/strong>: viewable for free on Vimeo<\/a>. Viewing of the show is preceded by a short video introduction by Fausto Russo Alesi.<\/div>\n
Schedule<\/strong>: from 6 p.m. on Friday, April 30 until midnight on Sunday, May 2, 2021<\/div>\n
Duration<\/strong>: 76 minutes<\/div>\n
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<\/i><\/i><\/span>Walkers<\/span><\/a><\/h4><\/div>
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Beppe Rosso stars in the fifth streaming event featuring the online release of the show Camminanti<\/em><\/strong>, which was staged in January 2003 as part of the Altri Percorsi festival.<\/div>\n
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“If we could photograph from above, we would see a snapshot of Walkers who come, go, move like an endless multitude of wanderers. We see only a few, a few. But there are millions of them. And they are walking toward us as a great pilgrimage uniting believers, nonbelievers, faiths, ethnicities, races, languages, religions. The century opened with Europeans migrating to the Americas, now it closes with Europe receiving emigrants forced, despite itself, as in the ancient Jewish Jubilee, to “forgive debts” and free men from slavery. The same continent that was a land of emigrants is now a receiving country. For many, Italy today is the America of our grandparents.” Therein lies the whole meaning of Camminanti<\/em>, co-written by Beppe Rosso, one of the pioneers in Italy of narrative theater, and Remo Rostagno, among the founders of theatrical animation in our country. <\/p>\n<\/div>\n

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Camminanti
\n<\/em>by Beppe Rosso and Remo Rostagno
\nwith Beppe Rosso
\ncollaboration on staging Gabriele Vacis
\ndramaturgy Gianluca Favetto
\nmusic Leonardo Brizzi
\nstage movements Maria Consagra
\ncostumes Makyhanykova
\nproduction ACTI Independent Theaters – Laboratorio Teatro Settimo<\/p>\n<\/div>\n

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Streaming<\/strong>: viewable for free on Vimeo<\/a>. Viewing of the show is preceded by a short video introduction by Beppe Rosso.<\/div>\n
Schedule<\/strong>: from 6 p.m. on Friday, May 7 until midnight on Sunday, May 9, 2021<\/div>\n
Duration<\/strong>: 99 minutes<\/div>\n
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<\/i><\/i><\/span>Occident Express<\/span><\/a><\/h4><\/div>
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Ottavia Piccolo stars in the latest streaming event featuring the online release of the show Occident Express<\/strong><\/em>, which was staged at the Creberg Teatro in November 2018 as part of the Prose Season of the Donizetti Theater.<\/div>\n
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Occident Express<\/em> chronicles the tragic story of Haifa, an elderly woman from Mosul who in 2015 went on the run together with her 4-year-old granddaughter, traveling a total of 5,000 kilometers through the so-called “Balkan route.” Occident Express<\/em> is the chronicle of her journey. It is the diary of an escape. It is a snapshot of an open-air hell. But above all, it is a true story, a small piece of lived life that makes up the great mosaic of humanity on the road. Occident Express<\/em> is a fragment of our time. From the barren lands of Hulalyah in northern Iraq, up through Europe to the ice of the Baltic Sea, Haifa tears with her teeth one stage after another, each time dying, each time being born, each time discovering something about others and herself. An odyssey of the Third Millennium. A merciless tale between words and music, without a single moment’s pause: the terrible race for survival. <\/p>\n<\/div>\n

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Occident Express
\nwritten<\/em> by Stefano Massini a performance curated by<\/em> Enrico Fink and Ottavia Piccolo with <\/em>Ottavia Piccolo and the Arezzo Multiethnic Orchestra
\nGianni Micheli clarinets and accordion<\/em>, Massimo Ferri oud, c\u00fcmb\u00fc\u015f, bouzouki, guitar<\/em>, Luca Roccia Baldini bass and double bass<\/em>, Mariel Tahiraj violin<\/em>, Leidy Natalia Orozco viola<\/em>, Maria Clara Verdelli cello<\/em>, Massimiliano Dragoni psaltery and percussion<\/em>, Enrico Fink flute<\/em>.<\/p>\n

music composed and directed by<\/em> Enrico Fink lighting design <\/em>Alfredo Piras a production <\/em>Teatro Stabile dell’Umbria, Officine della Cultura<\/p>\n<\/div>\n

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Streaming<\/strong>: viewable for free on Vimeo<\/a>. Viewing of the performance is preceded by a short video introduction by Ottavia Piccolo.<\/div>\n
Schedule<\/strong>: from 6 p.m. on Friday, May 14 until midnight on Sunday, May 16, 2021<\/div>\n
Duration<\/strong>: 91 minutes<\/div>\n
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