dal 2 al 5 Luglio 2015 – Cantiere Oberdan
2 luglio ore 22,30 – 3 e 4 luglio ore 19.30 – 5 luglio ore 16.00 (posto unico 15.00 euro)
Fumo Blu
di Gherardo Vitali Rosati
con Daniele Bonaiuti e Silvia Frasson
Regia Andrea Paciotto
SetDesign Lorenzo Banci
Costumi Aurora Damanti
Luci Roberto Innocenti
Aiuto regista, design video e suono Francesco Domenico D’Auria
Assistente alla regia e violoncello Lisa Lim
traduzione in inglese e sottotitoli: Nerina Cocchi
Produzione Teatro Metastasio – Stabile della Toscana
Progetto sostenuto tramite una Residenza Artistica da La MaMa Umbria International (2013-14)
Fumo Blu racconta l’instabilità e la confusione del nostro tempo dal microcosmo di una giovane coppia. Fra spassose incomprensioni, litigi quotidiani, ricordi d’infanzia e tentativi falliti di dare una “svolta” alla propria vita, emergono le debolezze dei due protagonisti. Al centro, il forte conflitto tra le loro grandi ambizioni, forse rivolte in direzioni sbagliate, e l’incapacità endemica di cogliere le opportunità che la vita inaspettatamente sa offrire.
PRESENTAZIONE DELLO SPETTACOLO
Uno spaccato nelle vite di due trentenni, alle prese con lavori poco concreti e difficoltà quotidiane. Per raccontare la nostra epoca, Fumo Blu intreccia il passato e il presente di Paolo e Claudia, che provano a vivere di giornalismo e di danza ma sognano maggiori stabilità in casa e sul lavoro. Cresciuti con grandi modelli e ambizioni, ora si scontrano con la realtà e ripensano al loro percorso. Riuscendo a capire qualcosa in più della propria natura. Intrecciando dialoghi e narrazione, il testo fotografa diversi momenti della vita dei due protagonisti. Attimi di leggerezza si alternano con momenti di riflessione, mentre le tragicomiche esperienze del quotidiano lasciano il posto a un sogno ricorrente. Sembra un incubo, ma ha un che di piacevole e invitante, come la vita in cui sono immersi Claudia e Paolo. I due si muovono in una scenografia evocativa, mentre le videoproiezioni che prendono forma su una grande vetrata contribuiscono a suggerire spazi e atmosfere, scandite da musiche e suoni che trasportano i personaggi e il pubblico attraverso i tempi e luoghi dello spettacolo. Fumo Blu si è sviluppato grazie a un progetto di Residenza Artistica presso La MaMa Umbria International con serie di letture sceniche presentate a Spoleto, Firenze e New York (in inglese).
NOTE DEL REGISTA
Fumo Blu è un pericoloso stato di piacevole confusione. Una nebbia immaginaria che patina lo sguardo e lo spirito, nasconde l’orizzonte e non permette di capire dove si sta andando. Emerge nel ripetersi scontato del quotidiano, familiare e rassicurante. Lentamente ci soffoca, ci addormenta, ci disorienta.
Claudia, 35 anni, Paolo, poco più di 30. Due non-più-giovani che non riescono a dare una svolta alla loro vita, né alla loro relazione, tantomeno al lavoro. Tra ambizioni, insicurezze, frustrazioni, paure, sogni ed opportunità deluse, il quotidiano va avanti con inerzia alienante. I momenti belli, divertenti e allegri affogano nell’incertezza e nella graduale perdita di senso e sentimento. Una vita confusa, ordinaria, comune, a tratti perfino comica. Il problema non è la mancanza di consapevolezza, ma l’incapacità mentale di trovare, dentro e fuori di sé, gli strumenti per operare il cambiamento. Come se quell’intuito animale che scatta di fronte alle occasioni o alle emergenze, quell’istinto di sopravvivenza che ha spinto l’evoluzione, si fosse irrimediabilmente addormentato o estinto.
Non c’è nulla di originale nella storia di questi due personaggi. Sono esattamente come molti non-più-giovani della loro generazione. L’eccezionalità risiede proprio nella loro normalità, nell’essere comuni, nell’essere il perfetto esempio di una generazione un po’ smarrita, nata agli albori dell’era digitale, globalizzata e fin troppo liquida, per dirla con Baumann. In questo senso Claudia e Paolo diventano il ritratto della società e attraverso di loro si possono vedere i riflessi del passato, del presente e forse anche del futuro.
Andrea Paciotto
NOTE DELL’AUTORE
Fumo Blu è nato dalle ceneri di un altro testo, Solo andata per Hong Kong. Lì c’era un imprenditore, che da piccolo aveva sofferto per la crisi del ‘73, e ora, adulto, si ritrovava a fronteggiare quella del 2012. Di questa storia è rimasto ben poco, ma l’indagine di fondo rimane la stessa. Volevo capire in che modo la “crisi” si interpone in una storia di coppia, come entra nel presente di due persone “normali”. Che non sono due vittime esemplari: vivono agiatamente, lavorano nel mondo culturale, sono in qualche modo privilegiati. Ma proprio questo mi interessava: evitare casi estremi e provare a raccontare le vite di molti trentenni di oggi. A partire dall’instabilità. Che dal lavoro si propaga sulla vita affettiva, generando ansie e insicurezze, ma che può essere anche sinonimo di libertà, di possibilità di cambiare. Si è sparsa la voce che in cinese l’ideogramma che indica la “crisi” sia composto da due parti, che significano rispettivamente “pericolo” e “opportunità”. Purtroppo non è vero, ma forse è vero che nella crisi si incrociano questi due aspetti. Davanti agli scogli, i due protagonisti sono costretti a riflettere, a ripensarsi. Immersi in questa situazione, non priva di aspetti piacevoli e confortanti, rischierebbero di andare avanti per inerzia, soffocando una parte importante di se stessi. Ora, dovranno mettere in discussione scelte fatte quasi per caso, o perché troppo condizionati dall’esterno. E magari costruirsi la loro serenità. Dipende da come risponderanno a quel telefono che non smette di squillare.
Gherardo Vitali Rosati
BIGLIETTI SPETTACOLO: Biglietteria Festival dei 2Mondi
2, 3, 4, 5 July 2015 – Cantiere Oberdan, Spoleto
Fumo Blu
by Gherardo Vitali Rosati
With Daniele Bonaiuti e Silvia Frasson
Director Andrea Paciotto
Set Design Lorenzo Banci
costumes Aurora Damanti
lighting Roberto Innocenti
assistant director, video design and sound Francesco Domenico D’Auria
assistant director intern Lisa Lim
Production Teatro Metastasio – Stabile della Toscana
Fumo Blu was also developed thanks to an Artistic Residency at La MaMa Umbria International (2013/14).
Fumo Blu is about the instability and confusion of our time seen from the microcosm of a young couple. Among hilarious misunderstandings, daily arguments, childhood memories and failed efforts to bring about a change in their lives, the weaknesses of the two leading figures emerge. At the centre of the play lies the strong conflict between their ambitions, perhaps misdirected, and the endemic inability to seize the chances that life unexpectedly may offer.
PRESENTATION
A cross section of the lives of a man and a woman in their thirties, dealing with insecure jobs and the daily complications of an unstable life. A portrait of our times, Fumo Blu weaves together Paolo and Claudia’s past and present, as they try to make a living from journalism and dance while dreaming of greater stability at home and at work. Having grown up with great models and ambitions, they are now confronting themselves with a less fascinating reality and are forces to reconsidering their choices. In the process hopefully they manage to achieve a better understanding of their own natures. Intertwining dialogue and narration, the text captures different moments in the life of the two characters. Light and funny moments alternate with more introspective atmospheres, tragi-comic everyday experiences alternate with a recurring dream. It feels like a nightmare, yet it has something pleasing and attractive about it, echoing the life in which Claudia and Paolo are immersed. The actors move in an evocative design, while videos projected on a large window help to suggest spaces and atmospheres, accompanied by music and sounds that transport characters and audience through the times and places of the story. Fumo Blu was developed thanks to an Artistic Residency at the MaMa Umbria International through a series of stage readings presented in Spoleto, Florence and New York (in English).
GHERARDO VITALI ROSATI
Theatre critic for Corriere Fiorentino, the local edition of Corriere della Sera, he works with several publications in Italy, the United States, Canada, Russia and France. Among these: Theater Magazine, Yale University’s theatrical review, La Règle du Jeu, directed by Bernard-Henry Lévy, and Liberté, the Montreal monthly directed by Philippe Gendreau. For RAI 3, he curates the Teatro Mondo section of Moreno Cerquetelli’s TG3 theatre programme, Chi è di scena, presented by Rosanna Cancellieri.
He obtained his Research Doctorate in the History of Theater at Florence University in 2011, with Prof. Siro Ferrone, after a specialist degree at the Sorbonne Nouvelle in Paris with Prof. Georges Banu. He holds courses in the History of Theatre and theatrical criticism at Florence University and Calenzano Teatro Formazione, directed by Stefano Massini. He is co-author of Une Algérie 1830-1954, staged in France by Théâtre des Minuits (2007), and collaborated in the theatre production of Discovering Pasolini at Teatro La Pergola in Florence by La MaMa Theatre of New York (2011). He curated the drama of The Medici Dynasty, Giuseppe Arone’s project on the history of Florence. Fumo Blu is his first solo work.
ANDREA PACIOTTO
Director, born in Spoleto. He began studying theatre in Italy at Scuola del Centro Universitario Teatrale in Perugia and Fondazione Pontedera Teatro. In 1990 he started his international experience thanks to the encounter with Ellen Steward, founder and artistic director of La MaMa Theater of New York. After working for a number of years as an actor, he turned to direction. He continued his training in New York (City University of New York, Brooklyn College) and in Amsterdam (DasArts, Advance Research Center in Theatre and Dance, Amsterdam University), specializing in the application of digital technology in the theatrical field.
In the course of his career, he has collaborated with many theatres and festivals, presenting works in Italy, Holland, Germany, Austria, Turkey, Serbia, Bosnia, Croatia, Switzerland, Poland, Macedonia, the United States, Mexico and Korea. In 2007 he was invited to the Venice Biennale within the Goldoni e il teatro nuovo project, staging an original new interpretation of the Servitore di due padroni (Servant of two masters), co-produced with the BITEF Belgrade International Festival and the National Theatre of Uzice in Serbia. The following year (2008) at the Mittelfest in Cividale del Friuli he presented Alla fine l’inizio (Ending with beginning), a performance based on Le Cosmicomiche (Cosmicomics) by Calvino. Since 2009 he translated and directed numerous plays by American playwright Israel Horovitz, with whom he founded the Horovitz-Paciotto Company, which has produced a number of shows and published two collections of plays, Trilogia Horovitz (Horovitz Trilogy) and Suite Horovitz, with the publishing house Editoria & Spettacolo. In the 2012-2013 season Teatro Stabile dell’Umbria produced the show Tre Famiglie, presented in various Italian theatres.
He has held courses and seminars on several aspects of theatre art at La MaMa, Centro Universitario Teatrale of Viterbo, Maastricht Academy of Dramatic Art, National School of Dance of Mexico City, Belgrade University, National Theatre of Belgrade, University of South Carolina, Seoul Institute of the Arts in Korea and others. Since 2009 he has been a member of the Training and Education Committee of the International Theatre Institute (ITI-UNESCO).
DANIELE BONAIUTI
He works as an actor both with Italian Public theatres as well as with research companies. For Teatro Stabile del Veneto he took part in Il Ventaglio by Carlo Goldoni directed by Damiano Michieletto (2012). With Teatro Metastasio Stabile della Toscana he acted in Frankenstein, written and directed by Stefano Massini, and Passaggio in India, under the direction of Federico Tiezzi (2008-2009). His performances also include Eremos, directed by Theodoros Terzopoulos and produced by Teatro Stabile dell’Umbria with Emilia Romagna Teatro (2009). He has worked with Teatro Sotterraneo in La Repubblica dei Bambini (in the French version also: La République des enfants), produced by Teatro delle Briciole, and in Il Signor Bruschino, put on for the Rossini Opera Festival (2011-2012). For the Festival Intercity of Sesto Fiorentino he worked with director Dimitri Milopulos in End of Desire by David Ireland, and Ginori, by Milopulos himself (2013-2014). As a director, he co-directed All You Can Wish and See you Soon? for Teatro delle Briciole. Together with Silvia Frasson he was the lead in In nome del popolo italiano by Matteo Bacchini. He trained first at the Laboratorio Nove, directed by Barbara Nativi, then at the Paolo Grassi School of Dramatic Art in Milan, and lastly at Federico Tiezzi’s Laboratorio di Prato. He is currently staging Sherlock Holmes, the Collettivo Cinetico’s project produced by Teatro delle Briciole.
SILVIA FRASSON
She works in theatre, cinema and television and recently took part in Maraviglioso Boccaccio by Taviani brothers, as the wife of Calandrino, played by Kim Rossi Stuart. In the theatre, she worked with Massimo Castri in Quando si è qualcuno (2003) with Giorgio Albertazzi, produced by Teatro di Roma, and Ecuba (2006), staged for the Istituto Nazionale del Dramma Antico of Siracusa. At the Teatro Metastasio Stabile della Toscana she played in Stefano Massini’s Frankenstein (2009) and Sto’s L’isola dei Pappagalli directed by Aldo Tarabella. She has played with such as masters as Gabriele Vacis (Macbeth), Peter Stein (Tatjiana) and Gigi Dall’Aglio (La crociata dei bambini). Also very active in narrative theatre, she is currently on stage with Amore e ginnastica, written specifically for her by Stefano Massini, an adaptation of Edmondo De Amicis’s story. She is the author and interpreter of narrative shows such as Santa Giovanna dell’Immaginazione, Brendulo, Quando non avevamo niente (about Richard-Ginori) and La Regina Nera (about Caterina de’ Medici).
With Daniele Bonaiuti she is in the lead part in In nome del popolo italiano by Matteo Bacchini. She trained at the Paolo Grassi School of Dramatic Art in Milan, where she returned in 2014 to teach her method as author and narrator at the Summer School.
LORENZO BANCI
After more than twenty years as a painter, he became interested in set design thanks to Paolo Magelli, who chose him for many of his shows in Central Europe and South American countries. Among his most important recent creations for theatre: Giochi di famiglia by Biljana Srbljanovic, Il giardino dei ciliegi by Anton Cechov, I fratelli Karamazov by Fëdor Michailovič Dostoevskij, Isola by Tommaso Santi, Hotel Belvedere by Ödön von Horváth, Na Dnu by Maksim Gorki.
Among his main exhibitions: Italian Genius Now, produced by Luigi Pecci Centre for Contemporary Art and on show between 2007 and 2009 in Hanoi, Singapore, New Delhi and Rome, and Gerhard Richter e la dissolvenza dell’immagine nell’arte contemporanea, organized by CCCS at the Strozzi Palace in Florence in 2010. He also exhibited at the Monza Biennale in 2011, at the 54th Venice Biennale – Tuscany Pavilion, and at the Luigi Pecci Centre for Contemporary Art in Prato, 2011.
ROBERTO INNOCENTI
Born in Prato, he began his career in 1972 as a theatrical technician with the Gruppo della Rocca. In 1976 he returned to Prato and took part in the theatre laboratory directed by Luca Ronconi for shows such as Pasolini’s Calderon, Hofmannsthal’s La Torre and Euripides’s Le Baccanti. Thereafter he stayed at the Teatro Metastasio in Prato, specializing in light projection. In 1989 he began to work as a light designer, and has designed the lighting for more than eighty shows produced both by the Teatro Metastasio and by European theatres in Italy, Croatia, Serbia, Russia, Austria and France, collaborating with many directors and choreographers such as Carlo Lizzani, Pier’Alli, Massimo Castri, Federico Tiezzi, Paolo Magelli, Virgilio Sieni, Stefano Massini, Lugi Lo Cascio, Massimo Luconi, Marco Baliani, Giancarlo Cauteruccio, Remondi and Caporossi, Monica Conti, Eimuntas Nekrosius and Peter Stein. Since 2011 he is being also in charge of technical management and staging for the Teatro Metastasio Stabile della Toscana.
AURORA DAMANTI
Having trained at the Specialization Course at the Teatro Metastasio after her degree at Florence University, she collaborated with the Theater of Tuscany in a number of productions by the director Massimo Luconi. She created the costumes for Dalle Ceneri, based on Tahar Ben Jelloun’s work, La pelle scorticata by and with Emilio Isgrò, and Notturno by Gabriele D’Annunzio. She worked with Dario Garofalo on the costumes for Giovanni e Paolo – Al di là di Falcone e Borsellino. Assistant costume designer for Fiorenza Cipollone for the film Universale – Io mi fermo qui by Federico Micali, she did the costumes for the Ministry of Defence’s publicity Diaframma, and for the Calibro 35 group’s musical video.
FRANCESCO DOMENICO D’AURIA
Artist and designer. He obtained his diploma at the School of Dramatic Art of the Teatro Stabile dell’Umbria/C.U.T. in Perugia. He has carried out projects, performances and theatrical shows in collaboration with Torgeir Wethal (Odin Teatret), Ludwik Flaszen (The Grotowski Institute), Mario Ferrero (Accademia Nazionale Silvio d’Amico), Jerzy Stuhr (Academy for the Dramatic Arts in Kraków), Nikolaj Karpov (GITIS of Moscow) and Roberto Ruggieri. He is a member of the Horovitz Paciotto Company and collaborates with the Mama Umbria International. Together with his exploration of the theatrical field he works on research on art and contemporary audiovisual design, with specific interest in software cultures, audiovisual technologies, live cinema and experimental cinema usage, and live media and interactive installations. He specializes in research on man-machine interfaces with applications in the fields of art and medicine. He exhibited the work Call Painting in Lisbon, Porto, Rome and Los Angeles. His short films and documentaries have been finalists in many festivals. He presented the installations Melograno and Oplonti at the National Archeological Museum of Naples for the project Archeologia e sinestia produced by the IDSN. He has a degree in Communication with an experimental thesis on Leo de Berardinis and theatrical and musical improvisation, and has a second degree in Design.