Театр Piccolo, ''Фауст, фрагменты''


Внешний вид зала Teatro Studio, перестроенного Marco Zanuso в 1984-1987 в четком соответствии со стилистикой популярной жилой архитектуры миланских внутренних дворов, вдохновил и задал направление для декорации к Фрагментам, постановке, рожденной:«... без четкого представления о том, какой она будет.»Джорджо Стрелер, Режиссерские заметки к Фаусту, часть 1, 1989.
Посмотреть все
«... 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.Джозеф Свобода 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.»
Партер Teatro Studio с нависающей над ним гигантской спиралью из шелка HSE - Tempesta.«... это бесконечная и недосягаемая Вселенная, которая нависает над творением Гете. Ты обладаешь абсолютной интуицией.»Джорджо Стрелер, Письмо Джозефу Свобода, 1990.Спираль может освещаться рассеянным светом:«... 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.
Однако спираль неподвижна, Стрелер не хочет принижать метафору бесконечности:«... the spiral-infinite-cosmos is such a definitive and total gesture that doesn't allow any different use [ ... ] it can't become a utilitarian object of scenography.In this sense, I believe that when you thought about the spiral that could be moved, tilted and lowered during the show, you thought to an error.Only daring to accept the imperturbable fixity of the spiral, it is granted its value.»Ibidem.
The spiral cannot even be disturbed by projections and, if it happens, the fact assumes a brutal value.When it is invaded by the movement of disco lights, in the scene of The Kitchen of the Witch:«... one destroys, in a certain sense, the absolute of the spiral.It is, however, a serious gesture, in my opinion, that means this only: the discouragement of everything in a world without infinite, to a bestial level.»Ibidem.
Фауст, фрагменты First Part (Erster Teil)
Фауст, фрагменты Second Part (Zweiter Teil)

Luisa Spinatelli
Главный конструктор
Aurelio Caracci
Fiorenzo Carpi (First Part)
Aldo Tarabella (Second Part)

1988 / 89 / 90 / 91

«Встреча с Фаустом ждала меня до определенного момента моей режиссерской жизни, тихо следуя за мной на протяжении десятилетий»
Джорджо Стрелер, Режиссерские заметки к Фаусту, часть 1, 1989.

Используемые материалы


Типы ПВХ задников

Джозеф Свобода

Мастера сценографии

HSE - Tempesta

Шёлк и атлас

RTE - Temporale

Материалы для рир-проекции

Информация о защите данных