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Emanuele Luzzati

 

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The 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 trends ...»
«... in the project of the scenes and costumes.I think he was influenced by Futurism.The element of modernity was very synthesized in his scenes, with very beautiful and really simple costumes too.More than in the scenography I feel him to be a father in the illustrations, he was important as a creator of images, of illustrations, of rhymes.A character like Bonaventura ...»
... looking for job. «At one point I was also in Milan at the Teatro alla Scala to meet Nicola Benois.He told me that they were missing the costume for Der Rosenkavalier, I made the sketches and 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 people.»
The scenography and 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 and transparency games don't have a primary importance, that is left instead to the voluntarily approximate compositions made of cloths, platforms, passages and booby-traps that underline with their apparent precariousness a sense of ephemeral that pervades and characterizes the scenography.
The fantastic illusion appears instead, in an inimitable way, on the backdrops and on the panels painted with the unmistakable pictorial graphic sign that becomes the leading motif of all of his shows.
The quotations and 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 and private life.

Websites that collect and illustrate the legacy of Emanuele Luzzati:
Fondazione Luzzati - Teatro della tosse
Casa Luzzati
Gianini e Luzzati

Materiale utilizate în această producție

Teatro Carlo Felice, ''Elixirul dragostei''

Opera lirica

Teatro Carlo Felice, ''Flatul fermecat''

Opera lirica

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