On September 26, the project opens the season of the new Trianon directed by Marisa Laurito. Outdoors, at Porta Capuana and Piazza Garibaldi, in the same locations, two one-act plays by the playwright from Castellammare di Stabia, on the 70th anniversary of his death
IThe new Trianon Viviani, under the artistic direction of Marisa Laurito, opens its season with two shows by Raffaele Viviani staged outdoors.
From 26 to 30 September, the Forcella theatre foundation will bring Viviani per strada to life, on the occasion of the seventieth anniversary of the death of the playwright to whom the theatre is dedicated.
The project, curated and directed by Nello Mascia, consists of the staging of two Vivianesque one-act plays: Porta Capuana and Mmiez''a Ferrovia.
The project is funded by the Complementary Operational Programme of the Campania Region (Poc 2014-2020) and is sponsored by Rai Campania and is implemented in collaboration with the PalaPartenope.
«Viviani per strada was born from a reflection on the painful present we live in, with the restrictive provisions on theatrical practice and the limitations on the attendance of spectators, certainly legitimate – explains Mascia –: hence this project of itinerant theatre that puts the street at the centre, the natural source of inspiration for Don Raffaele's works, where the Author observes and captures the most genuine moods of the people to then transfer them into his compositions, where city life is more intense and clamorous and the struggle for survival is revealed with more dramatic or even more comical clarity».
«To pay homage to Raffaele Viviani, on the seventieth anniversary of his death, I wanted to return to those characters the places of their original inspiration, in a traveling theater project – continues Mascia –: two works from a hundred years ago that make us think about how we were and how time has changed us, aiming to identify clues to face the near future more consciously and stronger».
Porta Capuana and Mmiez''a Ferrovia are two one-act plays from 1918, performed successfully at the Umberto theatre in the aftermath of the Caporetto defeat. In both, the director sees «a single protagonist – the chorus, the people – and the types, already widely experimented in variety, linked in a plot that mixes drama with picturesque surroundings».
Porta Capuana – This is the square historically known for its phantasmagorical open-air market. A varied humanity, made up of squalid retailers and fraudulent fishmongers, who express their feelings of loneliness and anger towards their destiny of poverty, but also endowed with a marked self-irony. Significant among others is the sad and hungry figure of 'o Tammurraro, with his tambourines balanced on his head, who tries to sell with great failure those instruments of dances, songs and parties to a humanity that has nothing to celebrate. But above all, the character of Don Ciro 'o capitalist dominates. A sordid loan shark with the fatal air of a fop. Don Ciro persistently courts sie' Stella, arousing the jealousy of Donna Rosa, «black soul», his lover, and married to Aitano Pagliuchella, a funny cardboard guappo. Donna Rosa never misses an opportunity to badmouth her rival. The gossip reaches the ears of Don Vincenzino, Stella's husband. The tension rises and suddenly explodes. Pazzariello will burst in, closing the Vivianesque one-act play.
Mmiez''a Ferrovia – Viviane's one-act play represents the colorful world that revolves around the square. There are the two Newsies who invite passers-by, one to the tradition of the Opera dei Pupi, the other to the “Cinemà”, the show of the future. There is the customer of the barber who misses the train because of Don Luigi's repeated delays. There is Crispino, the cobbler-intellectual vaguely inflamed by the ideas and distant echoes of the Russian revolution. There is the slightly mischievous Piano Singer. But the story has as its protagonist Concettina, who is about to give in to the flattery of Don Alberto, an unscrupulous man who will lead her to ruin. But the girl will manage to escape thanks to the timely warning of Nannina (a character who presents surprising similarities with some eternal Brechtian figures), now defeated and resigned to her desperate love and her lost life. As always, the protagonists are surrounded by a chorus of characters, among which the Magnetizer stands out, a sort of forerunner of Eduard's Sik-Sik.
The two shows will feature, with Nello Mascia himself also directing, Davide Afzal, Federica Aiello, Mariano Bellopede, Peppe Celentano, Rosaria De Cicco, Massimo De Matteo, Gennaro Di Colandrea, Chiara Di Girolamo, Valentina Elia, Gianni Ferreri, Roberto Giordano, Roberto Mascia, Massimo Masiello, Giovanni Mauriello, Matteo Mauriello, Marianna Mercurio, Ciccio Merolla and Ivano Schiavi.
The musical arrangements are by Mariano Bellopede and Ciccio Merolla. The scenography is by Raffaele Di Florio, the costumes by Anna Verde.
The poster is completed by Marcello Manzella (assistant director), Gianluca Sacco (lighting design), Daniele Chessa (sound and audio), Massimiliano Pinto (set-up management), Paolo Animato (press office), Daniela Riccio (production office), Francesca Buzzurro (administration) and Rino Manna (logistics).
The shows will be held every day from Saturday 26th to Wednesday 30th September: Porta Capuana at 20:30 pm, set up in the open space between the ancient city gate and the old headquarters of the Pretura, while Mmiez''a Ferrovia will be staged at 23 pm, in the centre of Piazza Garibaldi, in the covered pedestrian area.
In compliance with the hygiene and safety regulations prescribed for the health emergency, seats are limited (one hundred and ninety per performance venue) and numbered. At the entrance, a theater employee will take the temperature of guests and remind them of the essential use of a mask.
Tickets – They are free. Reservation requests must be sent by email to info@teatrotrianon.org, starting from Monday, September 21st. Due to the necessary seating quota, a maximum of two tickets per show can be booked. The email must indicate the date and location of the show (Porta Capuana or Piazza Garibaldi), as well as the number of tickets (one or two). The Trianon Viviani secretariat will then confirm the reservation by email, subject to seat availability, and will indicate when to collect the tickets at the theater box office.
Information www.teatrotrianon.org
081 2258285
Viviani on the street
project by Nello Mascia
“The street is the natural source of inspiration for Raffaele Viviani’s works.
The streets, the alleys, the squares. It is there that the Author observes and captures the most genuine moods of the people to then transfer them into his compositions.
Vivianesque characters were born there. They have a precise historical placement.
They live there in those powerful architectures swallowed up in the dark and deep alleys.
They were born there at that exact time.
Their problems are of a practical nature, the small problems of daily life, of a life rooted almost to the “neighborhood”, rather than to the whole city. In an almost animalistic impetus. And it is precisely this animality that makes all of Viviane’s theater universal and symbolic.
In the early years of his dramatic production, Viviani entitled many of his works with the names of those streets and squares where city life takes place most intensely and clamorously and where the struggle for survival is most dramatically or even comically clear.
The protagonists of this life that swarms in the streets are men and women who emerge from the alleys and eke out an existence by dint of expedients and inventions.
On the occasion of the 70th anniversary of the death of the great Stabiese, the Trianon Viviani theatre intends to pay homage to Viviani by returning to those characters the places of their original inspiration.
Viviani per strada is the traveling theater project we imagined.
Two works by Raffaele Viviani, both dated 1918. Porta Capuana and Mmiez''a Ferrovia. Two works performed with enormous success at the Umberto theatre in the aftermath of the Caporetto defeat.
The types already widely experimented in variety stand out in them, linked in a plot that mixes drama with picturesque surroundings.
Two works that have a single protagonist. The chorus. The people.
A community that once mattered. Which recalls in its etymological interpretation the sense of being together. Sharing emotions and experiences. An ancient, and perhaps lost, sense of human solidarity.
Two works named after two areas of Naples ideally connected to each other and adjacent to Piazza Calenda, home of our Trianon Viviani theatre which aspires to be the cultural and social reference point, the magnet of that entire perimeter that welcomes the population from Vasto to Via Foria.
The actors and musicians will arrive at Porta Capuana – the first stop on our journey – on two wagon-vans. Evocation of the ancient tradition of touring companies. The classic “carriage”, that of the actors with the suitcase. The flavor of the theater of the past, itinerant theater. When the acrobats crossed plains and rivers, climbed hills and mountains in search of an audience to tell a story, offer a ballad, a moment of fun or reflection.
The painful present we are living in, the restrictive provisions, the limitations on the attendance of spectators, certainly legitimate, have caused confusion in the face of an unusual and disturbing panorama.
Theatre scaled down, marginalized, ignored, practically put in a position of not being able to act.
Actors evicted from their natural homes. Actors desperately searching for an identity. Actors looking for the interlocutor indispensable for their survival. Actors looking for an audience to tell stories to.
Citizens looking for citizens with whom to exchange thoughts, ideas, comparisons and perhaps dialectical clashes.
The artists will get off the trucks. They will welcome the audience with their songs and will arrange their stage props.
At the end of the one-act Porta Capuana, the Pazzariello, supported by a band, will invite the spectators to reach together, through alleys and streets, in an improvised procession, and with due caution, Piazza Ferrovia, the second stage chosen for our evening event.
During the transfer – which will represent the heart of our Viviani on the Street project – as if by magic the various characters who made Viviani immortal will materialize.
They will materialize, precisely, on the street. Right there. Where the artist had met and described them. Characters now fused in eternal symbiosis with the lava stone of the pavement of that street, or with the tuff of that ruined building. Characters alive and real even today, who will find themselves face to face with the spectator of the year 2000 in a subdued and almost private dialogue.
Perhaps a Sapunariello will emerge from an alley to whisper his hardships. Perhaps a Filiberto will emerge from a café. A Cacciavino from a shop. From the entrance hall of an old building an old gentleman will perhaps recite the verses of Campanilismo. Under a street lamp we will find a nocturnal young lady or from a low room the unemployed will lean out and tell the story of his difficult life.
Viviani takes us into a dream. Naples a hundred years ago. He makes us think about how we were. And how time has changed us. With a desire to re-evaluate the past, which does not intend to stop at the feeling of nostalgia. But on the contrary aims to identify clues to face the near future more consciously and stronger.” (Nello Mascia)
at Porta Capuana, 20:30 pm
from Saturday 26th September to Wednesday 30th
at Piazza Garibaldi, 23pm
from Saturday 26th September to Wednesday 30th
[Photo by Pino Miraglia]
Article published on 18 September 2020 - 16:44
