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Emanuele Luzzati

 

Luzzati cu one of the characters that he created. Frequently in his work he choices to use bidimensional characters și scenographic elements, alluding to the figurative world of the infancy, recalled often also in the instalare made for the adult public.Luzzati is grown in a Genoese family of Jewish religion, even though substantially secular, as he remembers: «[It was] an ''Italian manner'' Judaism, very the Italian, very milk-and-water.» Andrea Mancini, La mia scena è un bosco, page 53.In any case, the influence of the Jewish world on his artistic formation is undeniable, even if Luzzati drew out of it, above all, what he found to be more congenial for him. «In every culture there are many sides, I have perhaps taken the most cheerful one.» Op. cit., ibidem.
Vezi toate
The Three Fat Persons, by Jurij Karlovič Oleša, productie of the 1978 by the Teatro della Tosse.The unforgettable Signor Bonaventura, one of the most beloved characters of the Corriere dei Piccoli (an historical publication companion of readings of at least three generations of Italian children), is the first among the references of Luzzati's work. «If you look for a dad of my tales, you find him in another tale, that is Bonaventura by Sergio Tofano [ ... ] he was also very important at a scenographic level [ ... ] because he was ultramodern [ ... ] he was not uprooted by the fashions in the project of the scenes și costumes. I think he was influenced by Futurism. The element of modernity was very synthesized in his scenes, cu very beautiful și really simple costumes too, [ ... ] more than in the scenografie I feel him to be a father in the illustrations, [ ... ] he was important as a creator of images, of illustrations, of rhymes: this tipul of character [Bonaventura] didn't exist first.»Op. cit., pages 43 și 47.
A scene from the theatrical show Chained Ubu, a productie of 1995.
In 1938 he interrupts his studies because of the racial laws și decides to devote himself to drawing.In 1940 his parents, refugeed in the Langhe (a region of Piedmont), sent him to Lausanne, to the École des beaux arts e des arts appliqueès, where he completed his own academic formation. In Switzerland he met some other refugees cu which he prepared his first theatrical show. Some of them had names that became illustrious within the theatre direction: Alessandro Fersen, Aldo Trionfo, Guido Lopez. He began the postwar period turning around Italy to show his own drawings și looking for job. «Once I also visited Nicola Benois in Milan. He told me that they were missing the costume for Der Rosenkavalier, I made the sketches și they were all right: so, the first thing I did in Italy was a show for the Teatro alla Scala. Naturally, at that time I didn't give it any importance, it was a place that seemed to me for old men.»Op. cit., page 53.
The final scene of the cartoon The Paladins of France.In the Fifties Luzzati alternates the activity of scenographer, in wich he collaborates in the theater cu Vittorio Gassman, Alessandro Fersen, Aldo Trionfo și Franco Enriquez, to that of draftsman of fabrics și ceramics decorator. He decorates the room of the children on the ship SS Andrea Doria și, subsequently, in collaboration cu the architects Pulitzer și Zoncada, he performs numerous other realizations for great ships. He also creates important scenographies for the Teatro La Fenice of Venice și the Teatro alla Scala of Milan. In 1957 he meets Giulio Gianini, an experienced cartoonist, after various attempts, he produces cu him the short folie of animation The Paladins of France, that receives prized in the reviews of Bergamo și Annecy. He will use this subject in an illustrated book that Mursia will publish in 1960, realizing so the initial aspiration that pushed him to devote himself to drawing.
Illustration for the children book The Tarantella of Pulcinella. In the beginning of the Sixties, Luzzati meets the writer Gianni Rodari, cu which he will collaborate many times in projects that remained in the annals of boy's book industry. Rodari will say of him: «... the secret, cu children și boys, is not to deal cu them in a childish way, but to be și to remain an adult that however knows how to preserve și to use the imagination, so that the meeting can also happen in a field that is usually excluded in the relationship between children și adults. Lele [Emanuele] spontaneously has this secret. [ ... ] Every time I have cordially envied the naturalness cu which he uses so many different languages: the words, the images, the theater, the cinema, the ceramics, the puppets. It is as if one didn't have a mother language, but three, four.»Op. cit., pages 35 și 38.
Bruno Cereseto's teatrino of marionettes, cu the scenographies și the puppets designed by Luzzati. In 1963 he is called at the Glyndebourne Festival Opera where he realizes the scenographies of The Magic Flute, beginning a decade of frequent collaborations cu different English theaters that he will develope sojourning for a long time in England. Numerous also the works for the theater of prose, from the innovative edition of Drums in the Night by Bertolt Brecht cu the direction by Aldo Trionfo, to The Rhinoceros by Eugène Ionesco și Îmblânzirea scorpiei cu the Compagnia dei Quattro. In 1964, the new short cartoon produced cu Gianini, The Thievish Magpie, receives, amongst many prizes, also a nomination to the Oscar. In 1968, cu Ubu the King by Alfred Jarry, begins the long association cu the scene director Tonino Conte. In 1973 the short folie of animation Pulcinella gets a second nomination to the Oscar. Luzzati și Gianini are named members of the Academy.
La stânga: a poster of the Teatro della Tosse for The Three Big Noses. In 1976, together cu Tonino Conte, Aldo Trionfo, Rita Cirio și Giannino Galloni, he founds the theatrical company of the Teatro della Tosse, that takes the name from its first center, a small theatre cu one hundred seats that is placed along the Salita della Tosse (Slope of the Cough), an old road in Genoa.The first show, directed by Conte cu the scenes și the costumes by Luzzati, is the re-edition of Ubu the King by Alfred Jarry, that renews the great success of 1968 și becomes the artistic manifesto of the company (Ubu king sat on his ''T'' is adopted as a symbol of the Teatro della Tosse). The intent of the company is to face the realization of its own productions according to a poetic view not tied up to avant-garde și neither to official theater, și that wants to be instead free in the choice of the artistic runs și the adopted texts, cu the objective to conjugate fun to cultural deepening.
The scenografie și perhaps even more the Nineteenth Century's Italian illustration see in Emanuele Luzzati (Genoa 1921-2007) one of the authors that have more influenced them.
In Luzzati, the creation of the scene uses almost exclusively traditional materials, often in a conventional way.
Light și transparenta games don't have a primary importance, that is left instead to the voluntarily approximate compositions din cloths, platforms, passages și booby-traps that underline cu their apparent precariousness a sense of ephemeral that pervades și characterizes the scenografie.
The fantastic illusion appears instead, in an inimitable way, on the fundaluri și on the panels painted cu the unmistakable pictorial graphic sign that becomes the leading motif of all of his shows.
The quotations și most of the pictures here showed are taken from the book La mia scena è un bosco (My Scene is a Wood) (Titivillus Publisher, 2003), that exposes an articulated interview by Andrea Mancini in which Luzzati looks back at his own artistic și private life.

Materiale utilizate în această producție

Teatro Carlo Felice, ''Elixirul dragostei''

Opera lirica

Teatro Carlo Felice, ''Flatul fermecat''

Opera lirica