Diapositiva 1

1
(No Transcript)
2
(No Transcript)
3

• Good morning and welcome to this meeting. The
  Pro Loco Tourist Association of Castel San Pietro
  Terme, that I represent, and which was
  established by voluntary assistants in 1995
  supported by an agreement with the Town Council,
  carries out programs and organizes all tourist
  and cultural performances of our town.

4
During the year we manage events for nearly 120
days, our town is small (there are approx 20.000
inhabitants) but is very active having the great
wish to operate well.
5
The Administration Council invests many funds for
the promotion of the territory territory which
is abounding in social institutions, cultural and
sport associations (90), an inheritance of
voluntary services which allows to perform a lot
of work and a careful presence, spreaded over
all ages.
6
Since 2005, Castel S.Pietro Terme is taking part
to Slow City , joining a circuit which ideally
assembles many towns of Italy longing to take
possession again of the pleasures of life in
accordance with mans standard, as well to
pursue the ideal of good living in the respect
of environment and diversities.
7
Our town was ready to shelter events like the
road theater or walkers according to what
declared by Alessio Michelotti, our artistic
director, promoter and artistic soul of our
walking theater, an international festival of
road arts, reaching this year the XII edition
8
ready are the thousands of persons who, since the
firsts edition, are waiting the saturdays of June
to give them up completely, and also to get lost
a bit, in games, in flight, in acrobatism, in
magic meeting with artists.
9
With this small experience, a bit of courage, and
the ideas of Alessio and Roberto, we became
available to realize this project which found in
today meeting its formal and ideal departure.
10
My job, our work as Pro Loco, is to support and
help, in cooperation with our partners, the
realization of a new international production,
the meeting between artists and operators of this
field coming from different European countries,
in order to promote performances which could
allow the cultural integration of the concerned
countries, in the knowledge of their artistic
traditions.
11
We can attend to this, but its you, our
partners, as well as Alessio and Roberto, who
could allow to realize this common ambitious
project.
12
A combination of ideas, projects, thoughts,
emotions, between persons in these dangerous
times to be watched with attention and care I
believe will represent, on the contrary, a nice
and useful days work.
13
I thank you for your attention, wishing you a
good job.
14
(No Transcript)
15
(No Transcript)
16
The country I belong to has a great artistic
tradition that can be only partly exploited by
its cultural politics. Until 2001, the only law
existing in Italy regarding the trade of street
arts was a police law issued during fascism.
17
Among the most flourishing industries of the
post-second war period in my country, we had the
FIAT and the private TV networks our magnificent
medieval and Reinassance squares, those times
full of creative vitality, in many cases have
been changed into enormous car parkings
18
very often the show is homologated to a TV
production. The performing art, and live show
altogether, is now living a period of strong
difficulties in Italy.
19
But the people, through the still-existing part
of the public square (meant in a romantic way)
they still express the urgent need of a
feast-theatre, a moment of interacton, sharing,
collective ceremony, meeting of diversities.
20
At the end of 80, following the stream of
important experiences like Festival of
SantArcangelo di Romagna and, later, Mercantia
in Certaldo (Firenze) and Ferrara Buskers
Festival, a new/ancient model of art event
started spreading in Italy
21
the Teatro della Città (Theater of City), in
which the city itself is able to re-gain the role
of leading character, drawing up a kind of global
scenery where troupes and audience are all in
play, both actors in a single total performance.
22
This model has been able to find more rich humus
in the small towns of province rather that the
big urban centres. It was spread even in small
villages, suddenly appeared on limelight for
housing festival capable to attract 10-20.000
visitors. The annual agenda of the FNAS, the
National Federation for Street Art, keeps files
of about 200 street art events in Italy every
year, some of them very important and with an
International feature.
preload
23
In this context, on 1995, an event called Il
Teatro che Cammina (The Walking Theatre) was
born at Castel San Pietro Terme, near Bologna.
24
It was created by using a configuration really
different comapared to all other Italian events
not a programme with hundred of shows, but few
selected proposals, all organized in a cultural
frame responding to a precise theme, different
year by year.
25
By using its few funds, Il Teatro che Cammina
has been able to become a well identified event.
It has given visibility to new Italian
productions. It has guested events of discussion
and consideration.
26
Soon it was appeared on International outline by
guesting many International big and small
troupes. It has been able to receive support from
European Commission for two projects now, by The
Vagrant Comedia Project, and in 2003 by the
project TWO WORLDS CIRCUS, suppported by the
European Social Fund.
27
Purpose of this project was to promote the
African culture and to spread the popular circus
and performing arts of this continent. As result
of activity plan, the Italian-Kenian
co-production Creature was realized, which is
one of the most appreciated New Circus
productions in the International context.
28
Back to the panoramic of the Italian Festivals
the capillarity of events represents a very
ample network, more opened to the small
craftsman productions rather than to big show
enterprises this can be considered an exception
in the whole European ambit.
29
An exception which is non supported by national
instiutions, except for local public
institutions, and can hardly find other sources.
30
Nevertheless, this new springtime of street
arts has been able to give pulse to an art
sector, even if in Italy it still remains
submerged , not recognized by any normative
scheme and by any official statistic.
31
In 1998 the FNAS (National Federation fo Street
Arts) was funded, in adhesion to the AGIS
(General Association for Italian Performing Art).
Today the FNAS associates 150 boards troupes,
artists, promoters, institutions. Aim of the
Federation is to emphasize this art sector, as
well as trying to solve the old trade problems
faced by artists.
32
The artists have to face the new and meantime old
problems, and hardly ever their problems
correspond to same problems faced by the big
Theatre system.
33
The flourish of street art network, thanks to the
distinctive attributes achieved in Italy, has
re-introduced the idea of craft, the
conception of artist-artisan of performing,
artist who is the performance itself.
34
An idea, therefore, taking back to the birth of
comedians craft it seems it was born on street
and public square, distinguishing itself from the
performance of rich XVIth century courts, thus
apanage of a socially and culturally homogeneous
élite.
35
As a matter of fact, the recent history of our
street performing art, during years between 90
and 2000, is indeed comparable to what happened
in Italy in the first period of XVIth century,
before the birth of the rooms for stage,
managed by local confraternities, and before the
joint ventures between actors and XVIIth century
rich courts.
36
In my country we have an official culture, an
official show system, having great availability
of means and structures, government supports, but
scarce audience.The only performing art still
able to incise culturally, to take the audience
with it, is the street art, once more
clandestine, once more hindered by power
37
The bond between street arts, modern circus and
Commedia is something tangible also by the point
of view of art speech and substance.
38
The Italian circus of oldest tradition is,
undoubtedly, represented by the clowning circus,
and even today some of historical circus families
can boast to have relatives, up to the 5th or 6th
generation, between the strolling comedians who
traveled throughout Italy and Europe in XVIth and
XVIIth centuries.
39
Some families have inherited an amazing heritage
of plots and entries, by handing on from
father to son an art and craft with no age.
40
This extreme care in performing, the use of a
direct speech, the training on actors, more
applied on body rather than on scenery, is a
distinctive character of our street performing
art. This aspect will be tangible to our
International guests when they meet some our
troupes here in Genova.
41
The Italian Commedia had a great dissemination in
Europe and it had, as we are well aware, an
extraordinary great role in the birth of modern
performing art.
42
At the beginning of XVIIth century the italian
actors raged at court of France. The character of
Pulcinella, from Neaples, was exported abroad
all over Europe, becoming Polichinelle, Punch,
Don Roberto, Don Cristobal etc.
43
On the contrary, the Italian street show of today
has poor visibility abroad and, due to limited
means available for promotion, it is mainly
relegated within our national borders.
44
But the sense of our project we planned together
with our partners of Portugal, Chech Republic and
Hungary, is not to affirm an Italian supremacy in
the ambit of Commedia. The Commedia dellArte,
through its extensions and the plurality of its
forms, through the various shapes acquired in
different countries, is definitely a real
European heritage.
45
The research for common outlines, as well as the
value of cultural diversity, are the main
guideline for our activity programme. The boards
joined in The Vagrant Comedia project have all an
extreme importance in project.
46
Through their cultural mission, trough their
multi-annual experience, carried out in their far
country, we can receive the chance to compose, by
the viewpoint of popular performing art, a puzzle
of European cultural identity.
47
On these basis, we aim to develop a co-operation
programme able to re-call the attention of
European audience to the fulcrum role of the
Commedia, asserting in it the common roots of all
forms of street art distinctive of respective
countries.
48
By developping three different actions event
organization, carrying out of workshops and
staging of an international production, we want
to promote the spreading of Commedia dellArte in
the European Community to foster the mobility of
artists and productions in European ambit
49
to carry out a programme of specific training for
European artists of sector in order to spread
knowledge and practice of technics considered
basement of this performing art to offer new
chances of art creation.
50
This programme is originated, in our opinion, by
a concrete need, a need felt in an Inernational
ambit. An opportunity also for Italian
performing art, that could have the chance,
through the reaffirmation of the Commedia role,
to be once more taken in consideration on the
European scene.
51
Italy is often set aside from international
cooperation, and we can only marginally join the
European networks of street and circus arts, even
if, for example, the biggest and more extended
network, realized by Hors Les Murs, has the
Italian name of Circostrada. And this cannot
simply be fortuitous
52
But the chance is not important for my country
only, in consideration that we are talking about
a cultural heritage belonging to whole Europe.
53
This meeting, born as chance of confrontation on
Commedia between 4 countries, has become, a bit
by mistake and a bit by miracle, an exclusive
circumstance , a real great chance of
confrontation for our experiences of cultural
operators.
54
We do hope that it will be an opportunity for
giving a new pulse to International cooperation,
for allowing the countries that, up to now,
always had poor visibility and now will be able
to find again an own placing in the European
ambit
55
to involve countries of new Europe, to enforce
the process of integration thanks to the
contribution of all of us, instead of affirming
the supremacy of richest countries.The amount of
investments maybe can grant the quality of art
productions, but it cannot grant the quality
standard of one culture compared to another.
56
I would like that this meeting could produce a
mutual declariton of intentions and could also
generate a common aim to reach.
57
I would like that many other meetings will
follow, and that countries represented here today
could in future be even widely represented by
their respective artists and troupes, both the
ones having more opportunities to attend to
events in my country and the ones having few
chances for promotion abroad.
58
If something will follows, it will be possible
thanks to our mutual availability and
reciprocity, to the influence that every cultural
system will be able to perform on the others.
59
But, obviously, the way for the creation of an
European cultural identity is a way where all of
us must feel involved.
60
My country, now, is called Europe.
61
(No Transcript)
62
(No Transcript)
63
The street show is, as definition, an
entertaiment show. The audience, by watching the
performing action taking place in a
non-conventional site, are attracted by it on a
visual level, or even due to a mirror effect
put in evidence by the show.
64
I think that the more intensive feeling in the
show is represented by the fortuitous meeting
between audience and show itself. The spectator,
surprised by the sudden performance, unavoidibly
becomes the starring of the action.
65
He can watch and show interest for that
performance, but still free to be just spectator,
and be trapped by the performing action. Nobody
forces him to stop on that street, or to toss and
turn on a seat. The physical space will never be
able to force him to stay, but his curiosity
will
66
The street show can involve many different
disciplines, from funambulism to clownerie, to
dance, puppet shows, storyteller up to the use of
particular scene machinery . It is a real, well
classified form of art production, requiring a
deep professional training and the creation of
spaces capable to offer tools and equipments to
artists in order to produce at best.
67
Since 15 years or more,actors, directors, writers
and scene designers meet to produce new shows in
this ambit.
68
Threfore they are filling up an ample empty
space in the ambit of performing art and, by
the growing of new and young troupes and new
networks, the street show (that until few years
ago could hardly find its real space and artistic
placing) is now finding its own area of
expression.
69
Troupes and artists on one side, art directors on
the other, thanks to their projects and
proposals, are strongly pushing away the empty
space lying between audience and
performance.Thanks to these festivals, the most
important is the chance given to the street show
to grow up, especially under a dramaturgical
point of view.
70
This is why I consider very important the born in
Italy of initiatives like Cantieri di Strada
in these occasions many troupes have the chance
to realize brand new performances to stage.
71
Many times we talk about the differences between
performing on street and performing on theatre
stage. I totally agree with those artists stating
that a difference does exist, but meantime I
think that one method of performing can never be
a discrimination in comparison with the other.
72
At the end, the actor will have two different
tools to use, and every time he will feel free to
choose and prefer one of them to perform.
73
The new theatre networks (festivals and events)
are essential moments for artists training of
artists they can offer an important chance for
the professional growing up of actors and
troupes.
74
The magic sense of the Fair, of the
story-teller, of the Jester is even more
fascinating for audience of today.
75
If we have a look to the most famous characters
of recent years the indictment-shows of actor
Paolini on TV, the comic Beppe Grillo and his
website, the satirical cabaret shows of paolo
Rossi, we do understand that the Jester is a
topical figure, today more than ever.
76
The Jester is able today to stay on TV, on stage,
on street, and by his narration, his character
performed on street, results to be more and more
attractive for a careful and respectful audience.
77
These networks are now an importan living-space
for professional growing of performing troupes,
but they will become fundamental to create
interaction areas between fortuitous street
audience and improvised show.
78
One aim of The Vagrant Comedia project is to
stage a production in Czech Republic a nice
challenge? Of course yes, even if I think we are
already winning an important challenge by
joining, through this Meeting, many European
festivals in a fundamental professional
confrontation, developing ideas which will be
able to spread themselves through the networks I
was talking before.
79
I am persuaded that these project will go on and
enforce, filling the empty space between audience
and scenery (never existed in the age of Commedia
dellArte). This will be possible thanks to the
still strong theatrical power of the ancient
figure of Jester.
80
(No Transcript)
81
(No Transcript)
82
The sense of my intervention here is to bring to
your attention some considerations drawn by study
and practice of Commedia dellArte, to which I
have dedicated the half part of my actors
life.It is, and it has always been, a love
full of contradictions and alternate tensions.
83
When I perfom Commedia dellArte, I always fear
to lose the communication of intesities, of
emotions and feelings, just to favour a sort of
cronic noisiness of comic actor.
84
It seems that the need to reach and involve as
many audience as possible, leads to the choice of
using easy effects, conventional dramatic
solutions, external performing based on clichès.
85
I think that only by deeping into study of main
Commedia dellArte roots we are able to trace a
direction which does not get lost into the
slavish and boring reply of pre-existant models.
I will try to explain this better.
86
For the last fifty years, we have seen the big
success of shows like Servant of two Masters
written by Carlo Goldoni and produced by the
Piccolo Teatro in Milan (and staged several times
by Giorgio Strehler, always showing the imaginary
life of comedians),
87
or shows produced by Gianni Poli at Teatro
dellAvogaria these successes brought to an
explosion of experiments,stagings and even born
of new Commedia dellArte troupes.
88
But lets start from the words of Strehler
himself Everybody says we perform Commedia
dellArte, but there is nothing falser than
this.
89
We have staged a Goldoni text, written by author
for the most famous Arlecchino of that century,
and originated from a pre-exisant text, and we
tried to imagine the life of Comedians in XIIIth
century.
90
As final result, we have been able to create new
tricks, inventions, jests, all to be inserted in
the text. But it still remains text,anything but
text. And also, who can say what the Comedia
dellArte really was? For sure it was performing
based on improvisation and entertaiment.
Performing art of that particular age, addressed
to audience of that same particular age
91
Thats all. Of course the plots, the comicality
frames, the stylization of characters are tools
which, with no doubts, allow the Commedia
dellArte to be enjoyable still today but it is
really paradoxical to note that we have to
resume something disappeared, buried centuries
ago just to have something to say today by
using the speech of the immedate performance.
92
Ive been studying Commedia dellArte since many
years, but, believe me, everytime I hear to talk
about New Commedia dellArte performance I
feel a funny intestinal twisting inside me
93
The tragedies of all Isabelles and Rosauras, and
their impeded marriages, and the senile loves of
Pantalone and Graziano how far they now seem to
be! .
94
In few words an involving performing art, but
for a different social pattern Or, may be, an
involving art even today, if, by using great
performing tools and characters, we are to able
to stage the Capital Sins, and their human
archetypes
95
Now I will request you to pay attention on
spirit and speech of Commedia dellArte. The
spirit the fascination of commedia dellArte is
the spirit of the Fraternal Compagnia, a
group of strolling actors, of (as they were
used to say) a comic troop (not troupe!).
96
A handful of actors/pirates always ready to
fight, to challenge the audience in a practice of
extemporaneous creation, of virtuosic
improvisation, just by using their own acting
background and practice.
97
Of course such a view is so far away from the
image given today by contemporary well supported
companies, regular troops, living on
auto-referenciality, more corresponding to a
bourgeois need rather than a real Epic of their
Profession
98
The old view even contradictory and deceptive
can perfectly match the idea of a street and
bargain theatre, later found to be perhaps wrong
or partial, but anyway corresponding to the
feeling of an actor craft closer to the trade of
a group of gamblers, jugglers of the performing
art rather than the literally text artists
99
So this romantic and gypsy dimension is still
able to fascinate me, also because , being so
ancient, it seems to be revolutionary and
unbalancing into a world of performing arts and
culture, by now totally slave of market and heap
cruel rules.
100
Indeed, I say yes to the market, but following
shared rules and not following the impositions of
ecnomic/political guarantees. Maybe utopiabut it
is not utopia if, proceeding to the second point
of my consideration, we start to talk about the
speech of Commedia
101
If I ask to myself why, after so many years, I
am still here to wallow in it, my reply is that I
am now aware that performing is something
completely different from cinema and television.
The performing art,the goodone, the honest
one, is able to shows its booth tricks with no
fear.
102
The good performing is that one not imposing,
but indeed proposing and suggesting to audience.
The performing art is that imaginary place, that
kind of no man land perfectly on border
between actor and audience.
103
This imaginary is brought home by audience,
being jealous of it like an own dreamThe good
performing art can act, like a sweet massage, on
the secret muscle of audiences imagination.
104
At the end of play, the good performing let you
go out full with desire of coming back again, or
with the regret that the play is over, but
meantime with a strong willing to revenge and
meet it again
105
I think that the Commedia dellArte, behind and
inside its styles and old-style forms, can still
mantain this secret the performing speech
which allows the actors to be here and now and
meantime, believable, there and something
else, just by using a minimum of light and
scenery suggestions
106
I think to Bertolt Brecht to Peter Brook. to
Dario Fo and, why not?, e, to the (not so young
anymore) performing of narration (Baliani,
Paolini, Curino, Celestini), and also my first
young experiences with Teatro del Sole and Tag
Teatro.
107
I think to 1977, when at the Atelier of Bergamo
Eugenio Barba showed us a movie about the
Chinese Peking Opera and he introduced it as
the highest example of performing ever
known.On that time, perhaps, few of us were
able to understand why. But today the same words
can find a deep comprehension inside me
108
If you try to correspond the word speech to
the verbal ambit only, that is considered
ambiguosBy using the word speech I mean the
sum of laws, rules and strategies allowing the
actor to organize even immediately his
action.
109
I do not think that for this purpose we
necessarily need to re-dust everytime the usual
Arlecchinos or Pantalones. I think, indeed, that
it is time now to create new characters, to tell
new storiesUtopia again
110
The best dramatist minds always flow in direction
of money, cinema and television. If we pay
attention to TV serials, sit-coms etc we find the
same exact drama dynamics of Commedia, with the
only difference that main part of the actor craft
is here supported and substitued by camera moves,
film editing and direction.
111
In few words, to find and propose that kind of
speech again we need financial strategies on
one side and knowledge of trade on the other.
But, first of all, we need the strong willing and
urgent need to perform stories and to meet
non-rigged audience.
112
The public square is, under this point of view,
the place/no place where meeting, seducing and
linking those paticular audience that refuse to
go to theatre due to an inferiority complex, to
economic reasons, or just because they do not
realize that performing art correspond to a real
and deep our necessity to perform and to
recognize ourselves, and to exorcize fears and
anxiety. My dream?
113
To perform a story on square, all of a sudden,
and to find tears on faces of people stopped
there by chanche tears of emotions for our
characters, of gratitude for we actors
114
(No Transcript)
115
(No Transcript)
116
The Portuguese cultural context.
Il contesto culturale portoghese
117
It was already in last third of the 20th century
that Portugal integrated the big family of the
Occidental democracies - since the revolution of
the 25th of April in 1974.
E stato solo nell ultimo terzo del XX secolo
che il Portogallo ha integrato la grande famiglia
delle democrazie Occidentali, cioè a partire
dalla rivoluzione del 25 aprile 1974.
118
This observation is not merely political in the
domain of the arts, it means, that still today
mentalities and frames search to adapt,
Questa constatazione non è un dato puramente
politico ha significato, fino ad allora, alcuna
presenza delle arti, delle quali mentalità e
struttura cercano di adattarsi,
119
to the dynamics unchained after the 2nd Big World
war, the accelerating decolonization and
globalization.
ancora oggi, alle dinamiche occorse alla fine
della II guerra mondiale de-colonizzazione e
globalizzazione accelerata.
120
Since the restoration of the Portuguese democracy
the Estate backed arts and culture, via the
Institute of Arts that defines most of all
manners and applies financing policies for
artistic creation.
Solo a partire dalla restaurazione della
democrazia in Portogallo lo Stato supporta le
arti e la cultura, attraverso lIstituto delle
Arti che definisce soprattutto le modalità e
applica politiche di finanziamento per le
creazioni artistiche.
121
But the street arts have been considered
secondary figures not being looked at in there
specifies.
Ma le arti di strada sono considerate secondarie
non si presta attenzione alle sue specificità.
122
The use of open public spaces is inversely
proportional to the days as of sun that our
climate provides, the investment and reflection
are cut down to there minimal expression by part
of the authors and responsibles of the cultural
policy
Lutilizzazione degli spazi publici aperti è
inversamente proporzionale alle giornate di sole
che il nostro clima può offrire, linvestimento è
stato di riflesso ridotto alla sua minima
espressione dai responabili della politica
culturale
123
the street activities are reduced to epochs and
particular events, there is no regularity in the
production and no central support policy to its
breeding.
e lattività di arte di strada si è limitata ai
periodi dei festivals, non ha regolarità nè
produzione e nessuna politica centrale di
sostegno alla sua evoluzione.
124
FIAR, Cultural Association is the only structure
in Portugal backed by the Institute of Arts.
Il FIAR, Associazione Culturale, è lunica
struttura in Portogallo supportata dallIstituto
delle Arti.
125
The International Festival of Street Arts, FIAR
had its beginning in Palmela in 1999, after
EXPO98, event that came to revitalize the street
in Portugal.
Il Festival Internazionale delle Arti di Strada
, FIAR inizia nel 1999, in seguito alla EXPO 98,
avvenimento che ha indotto il risveglio dellarte
di strada in Portogallo.
126
The responsibility of the programming of shows
and street activities from the Universal Exposure
was handed to the theatrical designer João
Brites.
La resposabilità della programmazione degli
spettacoli ed attività di strada per lEXPO venne
affidata al scenografo e scrittore João Brites.
127
His dynamic, experience and his knowledge from
the European panorama and the artistic crews with
whom he worked, brought out events and
experiences that bypassed the temporal space of
the Expo98
La sua dinamicità ed esperienza, la sua
conoscenza del panorama Europeo, e lequipe
artistica con la quale lavorò produssero eventi
ed esperienze che proseguirono anche dopo EXPO98
128
and from them new dynamics and experiences where
produced, that still exist today and tend to
diversity and continuity. Is not by accident that
FIAR has this artist in its direction.
producendo nuove dinamiche ed esperienze che
ancor oggi tendono alla diveristà e continuità.
Non è un caso che questo artista sia il
direttore di FIAR.
129
From the first edition of our festival, we like
to make use of the metaphor that the sigla FIAR,
irresistibly suggests, and by then we said more
or less this
Dalla prima edizione del nostro festival ci piace
usare una metafora che la sigla FIAR
inveitabilmente suggerisce e che recita
pressapoco così
130
The street. The pathways of this Village called
Palmela. Into them we will weave. Or they will
weave us. In one way or the other, or by both, we
will find ourselves as organizers, authors and
audience in communion.
La strada. Le strade della città di Palmela. In
esse ci aggireremo. Od esse si aggireanno in noi.
In un modo o nellaltro, o in ambedue, ci
aggireremo noi tutti, organizzatori, scrittori e
pubblico, in comunione.
131
In the uncovered of spaces that some believe to
know and that others ignore. Some can share the
delight of the uncovering
Una scoperta degli spazi che gli uni consoscono e
chi altri non conoscono affatto. Gli uni e gli
altri possiamo provare il piacere della scoperta,
132
through the incision from the artistic doing, by
physical occupation, by the suggestion of paths,
by the hearing new sounds, by new dispositions
from dark and light, from their dyes.
fuori da qualsiasi influenza dellazione
artistica, fuori da qualsiasi occupazione fisica,
fuori da qualsiasi suggestione dei percorsi,
ascolto di suoni nuovi, di nuove disposizioni del
chiaro e del scuro.
133
In this arena the desire for a new coexistence
installs. Deep in side of us it silences the
desire for an art made by all a democratized
polis.
Nel nostro territorio si installa il desiderio di
una convivenza. Entra in noi il desiderio di
unarte fatta per tutti in una polis
democratizzata.
134
The communitarian participation.
La partecipazione comune
135
FIAR is a Festival in deep communion with the
Vila of Palmela after eight consecutive years,
the largest part of the inhabitants from the Vila
enjoyed the shows,
Il FIAR é un Festival in profonda comunione con
la città di Palmela alla fine dgli otto anni
consecutivi di attività, la maggior parte degli
abitanti hanno usufruito di spettacoli,
136
performances presented and many of them
participated actively in diverse events and even
in artistic creations, as is the case from the
show Pino do Verão
installazioni e performances presentate, e molti
di essi partecipano attivamente in modi diversi,
anche nella produzione artistica, come nel caso
dello spettacolo Pino do Verão,
137
in wich around 200 musicians from the 4 filamonic
bands and chorus from the Counsel and several
tens of local artistes, along whit actors and
professional singers.
dove parteciparono circa 200 musici di 4 bande
filarmoniche, cori di Concelho e varie dozzine di
artisi locali come attori e cantanti
professionisti.
138
Regional reference point.
Punto di riferimento regionale
139
Its brand and excellence contribute strongly for
the cultural breeding from the Region and its an
important moment for appeal to qualified tourism.
La sua qualtità ed ecellenza contribuisce
fortemente per lo sviluppo culturale della
Regione ed un momento importante di attrazione di
turismo qualificato.
140
Of artistic communion
La comunione artistica
141
Of artistic communion. Its a Festival made of
artistic communions not only participates who
merely want or is available, the affinities and
the sharing of projects are the decisive factor
in the choices.
É un Festival fatto di comunione artistica non
vi si prende parte solo quando se ne ha il tempo
o si è disponibili le affinità e le condivisioni
dei progetti sono il fattore decisivo nelle
scelte.
142
Its a place of experimentation, of dialog from
the tradition with the contemporaneity.
E luogo di sperimentazione, di dialogo, di
tradizione come di contemporaneità...
143
Since 1999 FIAR via its organized structure,
FIAR, Cultural Association presents it self in as
a possibility off support to creation.
Functioning as
A partire dal 1999 il FIAR, attraverso la sua
struttura organizzativa Fiar Associação Cultural,
si propone come possibilità di assistenza alla
creazione. Funzionando anche
144
well as a structure of production and as
conduction of projects in the domain of the
street arts, support and dinamized the creation.
come struttura di produzione e di conduzione di
progetti nellambito delle arti di strada,
sostiene e stimola la creatività.
145
Its a Festival where experimentation is
stimulated in divers moments and spaces,
national and international artistes create shows,
installations and unknown performances.
É un Festival dove si stimola la sperimentazione
artistica in diversi momenti e spazi, creativi
nazionali e stranieri creano spettacoli,
installazioni e performance inedite.
146
The show Arestas is a happy particular example
the dialog, amidst the cante alentejano and the
poetry of Garcia Lorca, in-edited creation in
2004 that flow over borders and has received
several invitations for international festivals.
Lo spettacolo Arestas è un esempio
particolarmente felice il dialogo tra il cante
alentejano e la poesia di Garcia Lorca, creazione
originale del 2004 che ha attraversato le
frontiere e ha ricevuto vari inviti a Festivals
internazionali.
147
A new theater group that appears at the Vila, in
a association of aged people. Four embroiderers
that weave to the sound of four saxophones.
Un nuovo gruppo teatrale che nasce in città quale
associazione di anziani.. Quattro bordadeiras
che si muovono al suono di quattro sassofoni.
148
The research and the experimentation as engines
from the creation, José Afonso, surrealist,
rediscovered.
La ricerca e la sperimentazione come motore
creativo José Afonso, surrealista, riscoperto.
149
And the Pino de Verão a new musical writhing, an
aesthetic object characterising and unifying from
the model from the Festival.
E Pino do Verão una nuova produzione musicale,
una figura estetica caraterizzatrice e
unificatrice del modello del Festival.
150
... and of international reference.
... di ambito internazionale
151
It's a meeting of authors that dinamize, in
multiple well into múltiplas nets, spaces and
encounters of creation and reflexion about the
local artistic doing.
É un incontro di creativi che dinamizzano,
attraverso molteplici reti, spazi ed incontri di
creazione e riflessione sullattività artistica
locale.
152
(No Transcript)
153
(No Transcript)
154
The roots of this branch of art, similarly to the
situation in other countries, originate at the
comediants, acrobats, magicians of the snakes and
musicians of the medieval fairs and holidays.
Similarmente a quanto avvenuto in altri paesi, la
commedia dellarte in Ungheria ha origine dagli
acrobati, incantaserpenti, musici delle fiere e
feste medievali.
155
There is a note eg. from the XVI th century that
after the victorious battle over the Turkish
army, among the festivities they played the story
with huge puppets and the coffin of the enemy's
leader, whats was bombed up.
Per esempio, si può citare una testimonianza del
XVI secolo inerenti le celebrazioni di una
vittoria sui turchi tra le iniziative era stata
realizzata una parodia con burattini giganti e
lesplosione della bara del capo dei nemici.
156
In the XVIII- XIX th centuries there were the
wandering comediants and musicians, who
entertained the public.
Nel XVIII- XIX secolo esistevano dei commedianti
musici girovaghi che intrattenevano il pubblico.
157
The so called carriage theatres had also
appeared, where the platform of the carriage that
surved as a living room and vehicle for
travelling, was just as well, the stage. The
performances usually were held in farmyards.
Essi itineravano con i loro carri teatri, che
servivano sia per viverci sia, utilizzandone la
piattaforma, come palcoscenico. Gli spettacoli
venivano di solito rappresentati nelle fattorie.
158
These artists could be regarded professionals,
because they made their living by the theatre.
Questi artisti potevano senza dubbio essere
definiti professionisti, dal momento che dagli
spettacoli traevano la loro unica forma di
sostentamento.
159
However there were also then the casual
performers, the amateurs, who performed mainly on
family events or church holidays.
Esistevano tuttavia anche degli artisti
occasionali, gli amatoriali, che si esibivano in
occasione delle festività religiose o familiari.
160
During the weeks before Christmas, there were eg.
groups of 4-6 sometimes more people, who went
from house to house and performed a little piece
with songs on the story of the birth of Jesus.
Nel fine settimana precedente il Natale, gruppi
di 4-6 persone andavano di casa in casa
realizzando piccole piece inerenti la nascita di
Gesù. Queste performance venivano chiamate
betlehemes.
161
This performances are called betlehemes. One of
our colleague, who has been helping the festival
since its foundation, Marta Tömöry, is also the
main organizer and founder of the yearly
Betlehemes Convention in Hungary.
Una delle nostre colleghe, che contribuisce al
Festival dalla sua nascita, Marta Tömöry, è
anche la principale organizzatrice fondatrice
della annuale Betlehemes Convention in
Ungheria.
162
Besides the old native performers there are many
young people and school children, who come there
year-by-year to perform. So, it is a living
tradition.
Oltre alle performance dei locali, ci sono anche
molti giovani e scuole che vi partecipano. Quindi
la può considerare come una tradizione viva.
163
There are some more living little dramatic
traditions on Palm Sunday or at weddings, too,
that you can see mainly in the rural areas,
villages.
Esistono inoltre altre situazioni di piccola
drammaturgia, solitamente nei villaggi delle zone
rurali, in occasione della domenica delle Palme o
dei matrimoni.
164
The end of the XX th century, after the political
changes in our country, saw the revival of
different types of commedia d'ell arte forms. The
so called free and alternative theatres
mushroomed very quickly all over the country.
La fine del XX secolo, dopo I cambiamenti
politici nel nostro paese, vede il ripristino di
diverse forme della commedia dellarte. I
cosiddetti teatri alternativi sorsero ovunque nel
nostro paese.
165
They mainly came from among those artists, who
might not have been censured or forbidden by the
ex-political system, but nor were supported.
Questi teatri venivano costituiti da artisti che,
se pure non venivano censurati o banditi dallex
regime, di certo non ne venivano sostenuti.
166
They were not accepted by the stone- theatres,
either because of their political or their
theatre taste. There were also professional
artists, who were simply fed up with the
seria-mechanism of the official theatre making,
so they quit the system.
Essi non venivano accettati dal pietrificato
sistema teatrale, sia per motivi ideologici che
per lo stile teatrale. Oppure erano artisti
professionisti che, stanchi dei meccanismi
seriosi ed obsoleti del far teatro ufficiale,
semplicemente lo abbandonarono.
167
The new generation of the style that we may call
commedia d'ell arte today, grew from the
encounters and activities of the above mentioned
people.
La nuova generazione del genere della Commedia
dellArte di oggi nasce dal incontro e dalle
attività di tali artisti.
168
There are cc 20 independent formations today that
have been playing and struggling for their living
in the country and on the European festivals in
the past few years.
Oggi ci sono circa 20 formazioni indipendenti che
negli ultimi anni hanno operato sia nel loro
paese che presso I festivals europei.
169
The Week of the Winged Dragon International
Street Theatre Festival started its career in
1993, in Nyírbátor, as a part of the programmes
of the baroque year from that time.
Il Festival internazionale La settimana del
drago alato inizia la sua attività nel 1993, come
parte della programmazione dell anno barocco.
170
Its name was given after the animal the dragon
with wing on the coat of arms of the long-ago
famous family, the Bathory family, whose castle
and headquarters were in Nyírbátor.
Il suo nome deriva dal simbolo utilizzato
dallesercito dellantica famiglia dei Bathory
family, il cui castello e quartier generale
avevano sede a Nyírbátor.
171
According to the legend some hero of the family
had cut the head of the dragon by one hit. Once
Stephen Bathory was the king of Poland and the
head of Transylvanie, also the founder of a
university in Lithuania.
Secondo la leggenda un membro della famiglia
riuscì a tagliare la testa del dragone con un
colpo solo. Stephen Bathory fu anche re di
Polonia e reggente della Transilvania, nonchè
fondatore dellUniversità lituana
172
The well-known Polish- Hungarian fellowship can
be traced back to this historical fact. Numerous
legends can be found in the stories of family
history, and during the past years at the
festivals some of theme were performed, creating
some kind of Bathory- cult.
Il noto personaggio ungaro-polacco è presente in
molti episodi del passato. Numerose sono le
storie sua famiglia, e nelle edizioni passate del
festival alcune di esse sono state rappresentate,
creando una specie di culto dei Bathory.
173
Within this there was a successful theatre
co-operation in 2003, when the Divadlo na
Rázcesti from Slovakia and the Swan Song Theatre
from Hungary co-directed a huge outdoor
performance on the Bathory story, as a closing
event of the festival.
In questo ambito nel 2003 cè stata una proficua
collaborazione con la compagnia slovacca Divadlo
na Rázcesti e il teatro del cigno nero
dellUngheria, i quali hanno co-diretto una
grande performance allaperto per la chiusura del
Festival.
174
In the past three years our festival gives a nest
for the youngest generation of the street
performers. They are secondary shool children,
who come together there for theatre training, for
creating new performances, for helping the
realisation of the festival itself.
Negli ultimi tre anni il nostro festival è stato
una base per la futura generazione di artisti di
strada. Sono ragazzi della scuola superiore,
riunitisi per attività di training teatrale, per
creare nuovi spettacoli, per contribuire alla
realizzazione del festival stesso.
175
There were two international projects realised
within this programme, with Czech Slovakian and
Polish participants.
Ci sono stati due programmi di collaborazione
internazionale, con partecipanti ceco-slovacchi e
polacchi.
176
These projects were supported by the
International Visegrad Fund. The programme
co-ordinator is Nagy Ilona.
Tali programmi sono stati supportati dal fondo
internazionale Visegrad . Coordinatrice dei
programmi è Ilona Nagy.
177
Main data of the festivalinvited groups per
year 35-40number of audience cc 8 000- 15 000
Dati principali del festival Gruppi invitati
allanno 35-40 Spettatori ca 8 000- 15 000
178
budget per year 50 000- 80 000 euros, coming
from municipality 50, grants 30- 40 , tickets
10- 20

• budget annuo 50 000- 80 000 euros, erogati dalla
  municipalità al 50, contributi 30- 40 ,
  sbigliettamenti 10- 20

179
number of inhabitants in Nyírbátor 14 000
peopleduration of the fest 3 daysprice of the
ticket 2 euros
abitanti di Nyírbátor 14 000 people durata del
fest 3 giorni prezzo del biglietto 2 euro
180
Scenic location with a small pond, huge church,
and sculptures in the centre of the town. Next to
the venue there is a dormitory (unfortunately in
rather bad condition) that serves as accomodation
for the artists, volunteers and other helpers.
Lo scenario è un piccolo stagno, accanto ad
unenorme chiesa con sculture nel centro città.
Al suo fianco una foresteria, in condizioni non
eccellenti, che viene utilizzata da artisti,
volontari ed altri assistenti.
181
It is very crowded during the festival, but it
also gives a special atmoshphere for the common
work.
E molto affollata durante il festival, ma
soprattutto permeata da unatmosfera molto
speciale di lavoro in comune.
182
A territory of cc 100 000m2 is fenced round for
the festival, where they usually build 5-7
stages, plots for playing, so there can be
parallel performances.
Un area di circa 100.000 mq viene cintata in
occasione del festival, dove di norma vengono
allestiti 5-7 palcoscenici e aree di spettacolo,
onde consentire le rappresentazioni in
contemporanea.
183
In 2002 we build a round-shaped building, made of
wood, called The Crown Theatre, which is suitable
to give seats for 250 persons.
Nel 2002 abbiamo costruito un vero e proprio
teatro smontabile in legno, a pianta circolare,
chiamato il Teatro Corona, che può accogliere 250
persone.
184
This is the venue for the intimate, smaller
performance, designed for indoor performance.
Questo è il sito per spettacoli a carattere più
intimo e raccolto, o concepiti per linterno.
185
(No Transcript)
186
(No Transcript)
187
The history of theater is always connected with
the history and culture of the society. Italy was
already producing Renaissance, while there was
still the top Gothic in Czech.
La storia del teatro è sempre connessa con la
storia della cultura e della società. Mentre in
Italia già si produceva arte rinascimentale, in
Cechia era ancora in auge il Gotico.
188
The promising progress that the Czech lands were
making under the rule of the Czech King and the
Roman Emperor Charles IV was unfortunately
discontinued after his death.
Lagognato progresso che in territorio ceco si
stava attuando sotto il regno del re Ceco e
Imperatore del Sacro Romano Impero Carlo IV, dopo
la sua morte conobbe un periodo di discontinuità.
189
While the most famous Renaissance artists were
working and producing in Italy, the Czech lands
were hardly recovering themselves from the
Hussite wars.
Mentre in Italia i grandi artisti del
Rinascimento lavoravano e producevano opere , i
territori cechi riuscivano a stento a riprendersi
dalle guerre Ussite.
190
After Renaissance entered the Czech environment,
it was very soon replaced by counter-reformist
Baroque.
Dopo che il Rinascimento arrivò nei territori
cechi, ben presto fu sostituito dalla
controriforma Barocca.
191
Thence it follows that the period disfavoured the
artists and especially the theater. The first
Italian groups, which set off across Europe, did
not cross our boundary.
Di conseguenza, detto periodo non favoriva gli
artisti né tantomeno il teatro. Le prime
compagnie italiane che iniziarono a girare
lEuropa non attraversarono i nostri confini.
192
If they yet entered our lands, you could find
them only in the aristocratic homes.
Se lo fecero, fu solo per prestare la loro opera
presso qualche residenza aristocratica.
193
The Italian artists might have occurred on the
court of the king in the age of the biggest
blossom of the Renaissance under the rule of
the Emperor Rudolph II. / 1575 1612/.
Di certo gli artisti italiani, nel periodo di
massimo fulgore del rinascimento, intervennero
presso la corte reale sotto il regno
dellimperatore Rodolfo II (1575-1612).
194
Outside of the aristocratic courts the Czech
humanistic theater, which was arising from the
religious subject matter from the medieval
interludes, was evolving and was formed more as
Comedy Erudite.
Al di fuori delle corti nobiliari, il Teatro
Umanistico ceco (derivato da soggetti a carattere
religioso), a partire dalla forma medievale di
interludio si evolve fino a dare luogo alla
Commedia Erudita.
195
The period after the battle of White Mountain
Baroque /since 1620
Il periodo successivo alla battaglia della
Montagna Bianca Barocco dal 1620 in poi.
196
The age of Baroque brought to the protestant
Czech lands very hard era of counter-reformation,
so-called the dark era.
Il periodo barocco ha portato nel territorio Ceco
un periodo molto duro di contro-riforma, chiamato
Lera nera.
197
Even though this was a tough period, when almost
one third of the population emigrated, entirely
unique peoples theater evolves in the country.
However, its subjects are almost with no
exceptions also religious.
Nonostante fosse stato un periodo difficile, con
un terzo della popolazione emigrata, il teatro
popolare riesce comunque ad evolversi. I
soggetti, tuttavia, sono, senza eccezioni, a
carattere religioso.
198
Not until the end of the war on the closure of
17th century the new space opens for already
well-organized professional groups from England
and Italy. They greatly influenced the newly
rising professional Czech groups.
Dalla fine della Guerra, alla fine del XVII
secolo, lo spazio teatrale apre alle già ben
organizzate Compagnie professionali di
Inghilterra e Italia. Queste influenzano
tantissimo le nuove emergenti Compagnie ceche.
199
Burlesque is created and evolves under the
influence of English, German and mainly Italian
theater, which holds all signs of comedy
dellarte and is broaden with the character of
german Hansvurst etc.
La parodia si crea ed evolve influenzata dal
teatro inglese tedesco e principalmente da quello
italiano, il quale trasmette tutti i segni della
commedia dellarte, e viene arricchita dal
personaggio tedesco Hansvurst ecc.
200
We could say that the Renaissance Italian comedy
dellarte came to Czech lands in the next epoch
so in the top Baroque.
Si potrebbe dire che il Rinascimento italiano
arriva in territorio ceco nellepoca successiva,
ovvero nellAlto Barocco.
201
It also influenced the opera and mainly the
puppet theater.
Linfluenza sullopera e sul teatro dei burattini.
202
The progress of both diametrically different
theater sections proceeded in parallel the
opera on the noble courts and the puppet theater
in the peoples and town environment.
Levoluzione di questi due generi diametralmente
opposti procede in parallelo lopera presso le
corti dei nobili e il teatro di burattini in
ambito popolare.
203
The tradition that arose in this period found a
great response, so Czech lands became famous for
its puppets.
La tradizione nata in questo periodo trova grande
risposta, così il territorio ceco diventa famoso
per i suoi burattini.
204
Not very many countries can be proud of such a
great and still living tradition, which has its
professional scene and ensembles.
Pochi paesi possono essere altrettanto orgogliosi
di una tale grande e ancor viva tradizione, che
dispone di proprio circuito professionale e
compagnie.
205
It can be studied as a separate branch on the
Theater academy of Artistry and it is a
recognized exportable article of the Czech
culture.
Esso viene studiato come attività a se stante
alla Accademia Teatrale artistica ed è
riconosciuto quale patrimonio esportabile della
cultura ceca.
206
The heritage
Il patrimonio
207
The puppet theater
Il Teatro dei Burattini
208
The puppet theater was very popular with public.
Several famous puppet families lived vagrant
life and earned money through playing the puppet
theater /the Meissner, Kocka, Novák, Kopecký,
Kludský...
Il teatro dei burattini era molto popolare tra il
pubblico. Numerose famiglie di burattinai
conduceva una vita nomade guadagnandosi da vivere
con gli spettacoli di burattini le famiglie
Meissner, Kocka, Novák, Kopecký, Kludský...
209
The playing of the puppet theater became popular
entertainment of the clubs in the period of their
spurt in Czechoslovakia. It also becomes very
popular with children audience.
Gli spettacoli di burattini divennero il
trattenimento popolare dei circoli nel momento
del loro avvento in Cecoslovacchia. Divennero
popolari anche tra i bambini.
210
Since 1912 comes out the oldest subject journal
in the world The puppeteer. In 1923, the
Association of international puppeteers UNIMA was
founded in Prague.
Nel 1912 esce il più vecchio giornale del settore
al mondo, Il Burattinaio. Nel 1923 lUnione
Internationale de la Marionette, lUNIMA viene
fondata a Praga.
211
The alternative
Lalternativa
212
By the end of 1950s the Czech theater scene
starts to react on the European theater emergence
and new ensembles and groups that look for their
own author way not only in the drama but also in
the pantomime.
Alla fine degli anni 50 il panorama teatrle ceco
reagisce allemergenza teatrale che si verifica
in Europa con la nascita di nuove compagnie che
cercano il percorso dautore non solo nel dramma
ma anche nella pantomima.
213
In 1960s is this trend escalating much more,
moreover not only in Prague, but also in the
regions /The pantomime of Ladislav Fialka,
Semafor, The studio Ypsilon, The theater Husa na
Provázku, Drama club, The circus Alfréd/.
Negli anni 60 questa tendenza scresce ancora di
più, specialmente non solo a Praga, ma anche
nella provincia La pantomima di Ladislav
Fialka, Semafor, lo studio Ypsilon, il teatro
Husa na Provázku, Drama club, Il Circo Alfréd.
214
In the 1970s and 1980s, in the era of socialistic
normalization the theater became the platform of
the quite resistance against the regime.
Negli anni 70 ed 80, nellera della
normalizzazione socialista, il teatro diventa la
piattaforma della resistenza silenziosa verso il
regime.
215
The anti-communist putsch in 1989, so called
Velvet revolution, also started the people from
theater with a strike.
Anche il putsch anti-comunista del 1989, chiamato
La rivoulzione di velluto iniziò con uno
sciopero della gente di teatro.
216
The present
Il presente
217
During next couple years tens of new independent
theaters, theater festivals and mainly town
celebrations and many other opportunities for the
comeback of theater into streets are rising.
Per gli anni successivi si sono moltiplicate le
iniziative di nuovo teatro indipendente,
festivals, celebrazioni cittadine e molte altre
opportunità per far tornare il teatro sulla
piazza.
218
The independent and free theater people again
learn acrobatic skills, communication with public
in the streets the site specific projects appear.
Gli artisti del teatro