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Luciano Damiani

 

The work that for more than twenty years Luciano Damiani develops beside Giorgio Strehler at the Piccolo Teatro contributes to do of it one of the more important theatrical institutions to the world.Amongst the installations that he realized, as more stylized și innovative, one must quote at least those of El nost Milan by Carlo Bertolazzi (1954-55), The Good Person of Szechwan (1961) și Life of Galileo by Bertolt Brecht (1961-62), Le baruffe chiozzotte by Carlo Goldoni (1964), IThe Cherry Orchard by Anton Chechov (1973-74), Il campiello by Carlo Goldoni (1975), The Tempest by William Shakespeare (1975).As soon as the relationships cu Giorgio Strehler și Paolo Grassi, that appropriate sometimes some ideas of Damiani without recognizing its source, they are made more și more thesis up to not only break down him și the recognition for himself, but for the scenografis și the costume designer of the right of author și the right to the social contribution it will become object of a struggle that will extend him up to the last years of his life.
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Piccolo Teatro, ''The Tempest'', instalare of 1977.Beyond any other consideration, the association of Giorgio Strehler cu Damiani is considered among those that, in the modern theater, gave absolutely the most notable results. «I wouldn't like that you had the suspect that I'm trying to deny the worths of Paolo Grassi or of Giorgio Strehler, absolutely I'm not doing that [...] I wouldn't probably have succeeded in the theatrical field if I had not met Giorgio Strehler și perhaps I would never have become a show-worker if I hadn't met Paolo Grassi.The fate wanted that our roads met in certain circumstances și since I believe that each of us had something to say, we beloved, hated, but at the end esteemed each other...»Luciano Damiani, in Cortine of a self-portrait, part IV.
Sketch for Life of Galileo, instalare of the Piccolo Teatro, 1961.«... the scene began out of the stage și a truss drawn by Leonardo da Vinci framed the portal aloft.Under the front of the stage, the machine of the cortina by Nicola Sabbatini, scenographer of the seventeenth century.The level ground of the stage was the only perspective element, cu an accented inclination, in the container cu orthogonal plan. Five beams departed from the truss to end against the wall in the background. The one in the middle was calculated so that they all five resulted similar in the volume.The purpose was to avoid the ''protagonism'' of the central beam that one can find in Paolo Uccello's works. [...]The scene had to result to the eye of the spectator on the same level, like a ''sheet of paper'' where the characters would be hacked without their own shades și without brought shades, și this was the idea și the great difficulty but also the beauty.»Luciano Damiani, op. cit., part III.
A scale model of the flexible plane, the tool cu which Luciano Damiani experimented in 1983 the ''lower fantastic'' putting on stage at the Corte delle Armi of the Castello Sforzesco of Milan the Orfeo, from Angelo Poliziano, cu wich also Leonardo da Vinci had a performance.The plane was 17 m long, it arched up to a maximum înălțime of 3,2 m și it was practicable by the characters și by the ballet dancer of the show both in the plain position și in the arched one.The model was realized by the scenographer Matteo Fianchi in occasion of his own thesis of degree, Il piano flessibile di Luciano Damiani, Academia de Artă Brera, Milano, referee prof. Daniele Paolin.
In this picture și in the following: the flexible plane during its instalare in the Castello Sforzesco of Milan.Damiani is invited, for the Leonardian manifestations of Milan in 1983, to recall the instalare that Leonardo da Vinci had performed for the Orfeo by Angelo Poliziano.«In that moment I only said that I had to think about it și that I would perhaps have given a proposal of mine, I didn't like the idea to refer the mise en scène by Leonardo, as it was a model of the science museum.Discarded the hypothesis of a remake of Leonardo's sketches, the way I choose was that of the transposition in the modern world of the spirit of the Leonardian scenografie. Leonardo made open a hill as a half dome, making appear the gods below inside it și making get up și go down the characters through a trap door.»Luciano Damiani, op. cit., part V.
«I looked for another way, a mechanism that departing from a stage floor became, flexing, an arc și returned a stage floor when it was needed, creating an upper space și a lower one.The same effect that Leonardo da Vinci had gotten opening the hill și closing it.It was a lucky occasion because I discovered the element able to complete the theatrical machine that I wanted, the ''lower fantastic''.»Luciano Damiani, ibidem.«... arching itself, the plan would have resulted perspective, for which the front part, nearer to the public, would have been more curved than the back part [...]suffering unequal pushes și flexing itself in different ways, the structure resulted mostly solicited și this meant to run into further static și dynamic problems;yet Damiani, aware of all of this, on purpose chose to realize a perspective flexible plane.»Daniele Paolin, ibidem.
The cover of a report by Luciano Damiani that represents the summary of his scenographical și theatrical conception, in which the veil of matase hovered to the wind of the Don Quixote assumed a position of absolute relief.Damiani puts in fact the stage space between ''the upper fantastic or imaginary'' represented by a shaken alb veil, și ''the lower fantastic or imaginary'', identified cu the negru, arranging between the two imaginary all his projects și shows.«A synthesis of his own aesthetical theories applied to the theater that Damiani held really dear», says Daniele Paolin, scenographer și teacher of scenografie at the Academia de Artă Brera of Milan, who knew Damiani's thought for direct experience, having been a student of his.
A sketch for Piccolo Teatro, ''Livada de vișini'', an instalare of Piccolo Teatro of Milandin directia scenica of Giorgio Strehler și the muzica by Fiorenzo Carpi in 1973.An ethereal fundal of matase alb lifts from the back of the stage, entirely covers it și goes up expanding itself until the ceiling of the stalls (the suspended veil), while another fundal of clear fabric goes down like a fall from the front of the stage.Again Daniele Paolin:«After having used in different instalares the suspended veil for the ''upper fantastic'', și symbolized the ''real'' cu the space in an orthogonal layout, Damiani will succeed in realizing in 1983 the flexible plane, the theatrical machine cu which he will also reproduce the ''lower fantastic'' in the way that he will consider ideal. But it is in 1988, cu Orfeo ed Euridice of Teatro Regio of Parma, that Damiani will hold to have brought really to conclusion his artistic run, because, he will finally succeed in gathering all the three elements.»
After having frequented the courses of Giorgio Morandi at the Accademia di Belle Arti in his own city, Luciano Damiani (Bologna 1923 - Rome 2007), scenographer, costume designer și stage director, founds an agency specialized in the realization of poster for cinema și works in Bologna as a stage designer at the Teatro Comunale și for the theatrical group La Soffitta of Sandro Bolchi, until, in 1952, noticed by Paolo Grassi și Giorgio Strehler, he begins his collaboration cu the Piccolo Teatro, that will be assiduous up to the last Seventies.
Soon Damiani developes a personal scenographical vision that, in theatre, brings him to demolish the traditional conception of the scena all'italiana.
The border of his scenographies, that never are explanatory or illustrative, is not anymore that of the stage, that is dilated at times until to invade the stalls, or almost emptied, cu results of exceptional poetic significance.
Among his most prestigious international acknowledgement, there is the life nomination as a titular of the chair of scenografie at the Academia de Artă din Viena.
In 1982 he founds in Rome the Teatro di Documenti, that will become his artistic și spiritual will.

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