| Special Event for Spoleto 51
with Luca Ronconi
and the partecipation of
Francesca Ciocchetti
Pasquale Di Filippo
Alessandro Genovesi
Cristian Giammarini
Mariangela Granelli
Marco Grossi
Michele Maccagno
Stefano Moretti
Cristiano Nocera
Pilar Pèrez Aspa
Irene Petris
Olga Rossi
Umberto Terruso
care of
Centro Teatrale Santa Cristina | Starting with the 2008 edition of the Spoleto Festival, an important collaboration with Luca Ronconi and the acting school he directs together with Roberta Carlotto in Santa Cristina in Gubbio, has taken place.
Supported by the Festival’s new direction, the Centro Teatrale di Santa Cristina will yearly present some of its projects within the program of the Spoleto Festival. For 2008, Luca Ronconi has chosen to work with a group of actors whom he shared years of research and training with. He will be presenting the audience of Spoleto not a performance or a workshop but "open lessons" about Ibsen. A unique opportunity to observe "Ronconi´s method" in practice, meaning the interpretation work that takes place with the actors in order to display the creative process that is generally kept locked up in rehearsal rooms. Open lessons from morning to night where the audience is offered the possibility to appreciate the different steps of the process of how Ronconi works with the actors on chosen plays.
As Ronconi says, "Our presence at Spoleto 2008 is not brought through a performance but through the Association Santacristina that represents our way of working and experiencing theatre. For four days, from morning to night, we´ll present our challenging working style at Spoleto, leaving the doors open to show our work to anyone who might be interested in what we´ve been doing since our foundation. According to the statute, our Association is institutionally meant to produce performances and training courses. And as a glue between the former and latter, I like to consider our main identity the possibility to offer more or less young actors and professional directors a yearly encounter to discuss and ponder, in a comfortable place, a theme concerning our job, asking ourselves questions that from time to time can be technical, interpretative, theatrical. We´ll be working on a fascinating theme: the osmosis between literature and theatre. Works born for the stage in time lose their feasibility and become literature and vice versa. The question is inevitable: how can actors and directors relate to this change? Our intention is therefore to address our attention on the most famed traditional playwrights and their canons which we feel the need to keep a distance from or we need to renovate at any cost. At the beginning I thought of focusing our attention on three or four dramatists but then I shrunk them to Brecht and Ibsen, and in the end only to Ibsen whom I believe can offer more than a possibility to analyse and verify the core of the matter. (…) It’s more interesting to examine how the characters that are part of Ibsen´s world and society – for example Nora in "A Doll House" – in time become mythological characters whose relation with real life dissolve, while others emerge. I always questioned myself whether in such an extremely intense dramaturgy as Ibsen´s, each comedy doesn´t already contain the seed of another story, practically a parent to the following work. For example, "A Doll House" with its two endings – Nora leaves, Nora stays, suggesting two different destinies – seems to hint the subject of Ibsen’s following work, "Ghosts". As if "Ghosts" was written as an answer to the question: what would have happened if Nora had stayed with her husband, a prisoner to conventions, instead of leaving him?" |
