Piccolo Teatro, ''Faust, fragments''


The hall of the Teatro Studio, restructured by Marco Zanuso between 1984 and 1987 with precise references to the popular residential architecture of the Milanese courtyards, inspired and conditioned the direction and the scenography of the Fragments.A show born, Giorgio Strehler writes down in Direction notes of Faust First Part, 1989:«... without the exact vision of what it would have become.»
Vezi toate
«... asked that methodology.In this exceptional, perhaps unique theatrical place, with its wood, its simple forms, its artisan severity [ ... ] we are not only creating theatrical shows but, I hope, also a new relationship between show and actors, between actors and spectator, between the magic of the pretense and the clarity of the critical commitment [ ... ] a search that I hope will allow the public to feel itself as a part of a labour of interpretation and not only spectator of theater.»
«The Teatro Studio was born for that and in those forms of show-research it finds its reason to be.This research-show in vitro, seen in its building and taking down, won't have an unitary figure: it will be a real study in which we will propose the blending of the languages.»Franco Quadri writes in the preface of Josef Svoboda, The secrets of the theatrical space, Ubulibri 1997:«... it was born, among other proposed alternatives ...»
«... it was born, among other proposed alternatives, the idea of that spiral that would have satisfied Strehler and saved at the same time his principles (''Every show demands for me the recovery of a thing that says everything''): we needed therefore 350 meters of silk 3 meters wide, set in a light and balanced descending figure, harmonious and generating rhythm, that didn't hang or made folds, it was not sewed but glued, stuck together with precision, because ''it contained inside a mathematical secret''.»In the picture, the sketch of the spiral made of white HSE - Tempesta silk that will dominate the scenography.Josef Svoboda remembers, op. cit.:«The space of the Teatro Studio, where stage and the stalls are integrated and are placed in the center of the ellipse of the seats ...»
«... asks for the creation of a partnership relation among the two sectors.When I realized it, I understood that this was the idea from which I had to depart, and Strehler immediately agreed. I conceived so the spiral that dominated the stalls from the ceiling: as from the spiral the world had been born, so mine, from which they flowed all the scenographic elements, the world of show was born.We adopted this solution - that seemed to be really simple, although it was true the opposite - also in the second part of the Faust, in 1991.»
The parterre-stage of Teatro Studio tovered by the spiral made of white HSE - Tempesta silk.«... it is the endless and untouchable universe that overhangs the work by Goethe. Your intuition is absolute.»Giorgio Strehler, Letter to Josef Svoboda, 1990.The spiral can be illuminated by soft lights:«... it can certainly tolerate to become, in the show, the image of the infinite as the man sees it, that is as a kind of sky with its variations to night and day, dawns, sunsets, without losing for this reason its cosmic being and its global symbol.»Ibidem.
Faust, Fragments First Part (Erster Teil)
Faust, Fragments Second Part (Zweiter Teil)
Johann W. Goethe (1749 - 1832)

Luisa Spinatelli
Construction responsible
Aurelio Caracci
Fiorenzo Carpi (First Part)
Aldo Tarabella (Second Part)
Directia scenica

1988 / 89 / 90 / 91

«The meeting cu Faust waited for me to a limit of my life of interpreter, after having accompanied, silently, at my side, my walk for decades.»
Giorgio Strehler, Direction notes of Faust First Part, 1989.

Materiale utilizate în această producție

Fundaluri cu iluminare spate

Fundaluri din folie de vinil: tipologii

HSE - Tempesta

Matase și satin

Josef Svoboda

Maestrii ai scenei

RTE - Temporale

Folii retroproiecție

Informatii despre prelucrarea datelor