Category Archives: Theatre Tourism

Barcelona and the Teatro Grec

Barcelona, Gaudi, La Sagrada Familia, See the World & See World Theatre, Teatro Grec, Theatre Lovers, Theatre Tourism, Theatre Travel


image This started out as my dedicated Gaudi day and on arriving La Sagrada Familia, I found that not only do I need to buy a ticket, it was allocated a time when I would be admitted. Ok so what to do for two hours? So using my metro ticket I headed off to find Gaudi’s  Casa Batllo, the Rambles and the Boqueria, all of which I had spotted from the taxi last  night.  The whimsy, charm and architectural uniqueness of Gaudi is astonishing and on the Casa Battlio, I discovered that the balconies are cat faces!  image

The Boqueria on the other hand is all bustling business and practicality, but once more the displays have that intrinsic Barcelona aesthetic. I’ve never seen so much food, especially the fish and to think this is replenished every day. It is a ‘feast’ for the eye and a well deserved tourist attraction.

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It would be interesting to know just how much Gaudi and tourism contribute to this ailing economy – the cost of the continuing construction of the cathedral must be enormous. And while there, you are very aware that the stonemasons are at work.

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Once inside the cathedral, the beauty just overtakes you and Gaudi’s use of colour and form found in nature, in contrast to the richness and heaviness of gothic cathedrals, makes this one feel like a breath of fresh air. It is truly enlivening.

I have just arrived at The Teatro Grec having left Ted and Jo in the most amazing gin joint I’ve ever experienced. My gin was enhanced with grapefruit and ginger and it too was heaven in a glass.

imageAnd then into my third heaven for the day, seeing the beauty of this place after the heat and bus-i-ness of down town Barcelona. It has been a very hot day with traces of rain and just being in this elevated location on Mont Juic has relieved the oppression of the heat, or was it Victor’s Gin Palace?

imageHaving said that it’s 10 pm and the production is about to begin without any further threat of rain. However it had been sufficiently disquieting for me to put a hooded jacket in my bag – does it ever rain on Spain’s outdoor shows? I’m well used to people bringing fans and fanning away, but do they bring umbrellas? And of course people do stand in the rain at The Globe Theatre and the actors also get wet…

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imageThis beautiful ampitheatre, man- made for the 1929 World Fair, was created from a disused quarry and the whole place has a beautifully peaceful Greek aesthetic, including a lovely  garden and restaurant. The architect, Ramon Reventos, was clearly a neo Hellenist. I suspect the auditorium holds some 2000 people and tonight it seems almost full.

I’m in a little trepidation as to this production,  Batolome Encadenado, as it represents a modern version of Prometheus, billed as a tragi comedy with a chorus of actors from the Theatre Institute. Each year a writer is asked to create a text around contemporary themes in relation to  Greek theatre. With social and political overtones, this does address the economic situation as the premise for the story which deals with the theft of lower and middle class workers money by the World Bank.

imageAnd whilst the cast of young activists were enthusiastic and commited to the piece,  for me the production was enhanced by a light and sound show type of projections against the back wall of the theater. This worked really well and gave a texture to the otherwise one thing after another predictable nationalistic ardor. I will explore the genesis of this work so as not to disgrace myself as to its significance.

The audience was appreciative and all of sudden they dispersed down the hill. How will I get home I asked the hotel porter. Follow the crowd! I did just that and ultimately found myself in Avenue Parel-lel within a good stroll of the hotel.

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So a great day. Gaudi, The Teatro Grec, the Bocheria, Victor’s gin palace and catching up with Ted who I haven’t seen since May. He and Jo had fulfilled one of their Barcelona must do’s spending the whole day on the beach.

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Day 5 Ithaca to Epidavros

Classical Theatre, See the World & See World Theatre, Theatre Lovers, Theatre Tourism, Theatre Travel, , , ,

 

You’ll notice that Day 4 disappeared as one spent in total relaxation around the pool, a walk to the beach, some exploring in town and then an evening meeting with the woman I had shared a taxi with, Tula. We sat by the harbour drinking ouzo while she told me of her life on Ithaca and elsewhere. Of interest to me was her experience of the 1953 earthquake which decimated Kephalonia and greatly damaged Ithaca. She said it was night time and she was sleeping outside because of the heat and all of a sudden the ground shook terribly and she woke up somewhere else – the whole ground had shifted. She was 15 at the time. As a result of this, the houses in Vathi are all new although on my walk yesterday I did see some stone dwelling ruins. I’m certainly interested to follow up on this when I next get wifi.

No wi fi this morning as I’m on the ferry back to the mainland.Ferry? It’s more like an ocean liner cum international aircraft.

Another early start with a taxi at 6.30 for a 7 am ferry. All is well and as we descend the hill down to the harbour, I ask the driver how much? 15. What, 15 for a 5 minute drive I think to myself. Perhaps there was an early morning premium and then as he started to drive out of
Vathi I started to get really nervous. Where are we going? ferry? Waving my ticket in his face. Yes, yes. And up and out of the town with spectacular harbour views in the early morning light, more winding roads and now at 6.45. I express my dismay at the time, and he noticeably steps on the gas.

The arrival at the harbour clearly displays why the ferry is in a different harbour – the thing is huge! And now as I’m at Kephalonia watching petrol tankers, buses and even a concrete mixer come on board, I think for those people challenged by flying, this sort of cargo could be quite anxious making.

At Kellini,I get off this ferry and take the onboard bus to Patras where I collect a hire car to drive to Epidavros and see Euripides Helen at 9.15 this evening.

And by the way, this round about route to get to Patras is a result of the austerities and the failure of the ferry company to upgrade their internet information. Just as well I went to book my ticket some days in advance and with the assistance of Yanna.

The ongoing journey was quite hilarious with the taxi driver from the bus station to Avis trying to convince me that the road was terrible, winding, over mountains, and much too hard for me and that he would do me a very special price of €250. I showed him my Avis agreement for 4 days unlimited mileage for much the same price. Can’t blame him for trying. While the drive was long and I kept heading for Ancient Corinth rather than Epidavros, the roads were no more difficult than any country driving we have in Oz.

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Ancient Epidavros is on the Saronic Gulf and another of those dream locations. The Heleni Hotel is set among orange groves, opposite the beach and the host really went out of his way to tee me up with the theatre people staying here. There was a classical theatre summer school led by a Professor from the University of Athens and a cultural tour leader from Germany. Both very good contacts for me.

As I didn’t want to drive out to the ampitheatre on my own, I joined Jens group for the play, which I enjoyed enormously.image

imageI knew it was to be a modern interpretation and held my breath as the actors in contemporary garb, each with an amp box on wheels, were performing curious acts of physical theatre. But as the play unfolded, I liked it more and more, as each of the actors, about 8 of them, were a tight chorus and stepped out to take the variety of roles. And to my delight they did perform the humour of the piece. They kept very close to the original text and while the English surtitles were useful, it did distract t my attention from the subtleties of the physical theatre performance. The sounds emitting from the amp boxes added a terrific layer to the piece and the chorus unison work was astounding. So all in all a very worthwhile experience for me. Although on returning to the hotel last night there were quite a few detractors of the interpretation and of course, they all have their points of view and so I grabbed a glass of wines and called it a night.

It had been an incredibly long day and a most rewarding one. Thank you Euripides, thank you actors and director, thank you Epidavros and thank you Athens/Epidavros Festival. image

All The Worlds A Stage Theatre Tours Officially Launched + Friends Special Offer!

Athens/Epidaurus, Delphi, Herodes Atticus, Theatre of Apollo, Theatre of Dionysis, Theatre Travel

Dear Friends and Followers,
All The Worlds A Stage Theatre Tours went live this week!(www.alltheworldsastagetheatretours.com) It’s been a long journey over the last 18 months and your ongoing feedback and encouragement has really kept me going when it’s got tough. And as a special thank you I now have a special offer for you.

You’ll remember I was in Greece last July and was knocked out by it. Sensational theatre in Athens and the out-of town-ancient ampitheatres, the landscape, hospitality, food, music, how Greek history translates to theatre, the sun, the islands, and also the noticeable Greek resilience and devotion to pleasure and excitement.

Right now, I’m planning on going again this July to tie up some loose ends for the 2015 tour and was wondering if you (or any of your friends) might be interested in taking up this special offer:

How about joining me for 10 days or so to soak up the Mediterranean summer to test out the proposed Greek leg of the 2015 All The World’s A Stage Theatre Tour?

Here’s what you’ll get:

ACT 1 SCENE 1: ANCIENT GREECE – The Birthplace of Western Theatre
THE SETTING: ATHENS/EPIDAVROS FESTIVAL, 2014
AT A GLANCE:
10 DAYS IN GREECE including:

5 nights in Athens
5 theatre productions from the Athens/Epidaurus Festival (including the ancient ampitheatres that you’ll talk about for years!)
5 guided tours to Ancient sites:
the Acropolis (including the Theatre of Dionysis and the Odeon of Herodes Atticus); the Acropolis Museum;
Delphi and the Theatre of Apollo;
Corinth, Mycenae, Nafplio;
the Ancient Theatre at Epidavros,
the Asclepeios Healing Sanctuary and the Little Theatre of Ancient Epidavros.
2 nights of seaside indulgence in rural Epidavros
3 nights of Odyssean intrigue on the Island of Ithaca

+ my knowledge + my 2013 experience (all documented on this blog – brendaaddie.com)
+ you could also check out the proposed 2015 Greek leg of the tour on www.alltheworldsastagetheatretours.com
OR
http://www.alltheworldsastagetheatretours.com/where-we-go/ancient-greece/

As this business is in its infancy, I’d just be asking you to join me at cost – we’d do a land only price and you get yourself to Athens.

There are still some good flights avail but filling fast. Obviously if we were to get 10 people together we’d get some significant reductions.

AND I get to travel with people I like as my case studies, What fun!

Send me an email ‘tell me more!’ to brendaaddie@gmail.com
We’d need to book in the next 10 days! (or use the contact form below…)

With best wishes for front row seats always,
Brenda.

P.S. Please pass this on to anyone you think might be interested.

Theatre and Space

Theatre Architecture, Theatre Lovers, Theatre Tourism, Theatre Travel

Theatre and space traverse the distance of the everyday.

Thinking on the nature of the theatre space and its’ impact on performance and the audience, in the first instance I always look for the beauty. Beauty feeds the soul. It is colour and form and tone and gesture. It is inherent in the grand gesture of nature as in grand opera that stirs the emotions with its opening phrases or in the vast landscapes of a Tolstoy novel. In their profound wisdom, the ancient Greeks combined nature and landscape within the theatre space and with the added exertion of making the pilgrimage to the sacred site, theatre lovers would enter the liminal. Whatever happened after that, by way of performance, was duty-bound to traverse the distance of the everyday. To transport the audience to places, emotions, rarely encountered.
Historically theatre architecture preceded that of cathedrals and yet the evocation of awe is the same. Two great monuments to art that have been featured on television recently, Gaudi’s La Sagrada Familia and the Sydney Opera House, both provide me with that sense of the liminal, of entering alternative space, a place where I may be transmuted from the cares of the everyday, a place where I engage with other or the sublime. After all isn’t that the reason we go to a Cathedral or to a theatre? But let’s stick with theatre just now because I’ve had some really interesting theatre space experiences recently.
Over drinks my dear theatre friend, David Adamson, commented on my European theatre travels and suggested that it was the drama of the theatre spaces that contributed to the richness of the experience. And indeed on reflection that is so. The Epidavros Ampitheatre, the open-air Corral in Almagro, the medieval Teatro Francesco Torti in Bevagna, a village near Spoleto, and even the factory site spaces in Athens mightily contributed to the tenor of the theatre works.
In my thesis From Ancient Greece to Glenrowan etc, I included the element of place but my attention to the space was more directed to our cleverness in converting a community hall into a theatre space. However, the conversion was intentional in creating a sense of the liminal and with great dollops of creativity and volunteer man power, the transformation was affected. Great design work by Peter Mumford.
And this brings me to two of my recent theatre space experiences. Room of Regret based on Oscar Wilde’s The Picture of Dorian Gray (devised and directed by Emma Valente) was an offering of The Melbourne Festival. Staged at Theatreworks in St.Kilda, the space was converted into a labyrinth of small rooms into which the audience members, veiled in curtain fabric, were ushered and instructed to sit upon the waiting stools. Actors appeared somewhat randomly in the small rooms and did beautiful work. They were truly beautiful in their posture, gesture, vocal delivery and ecstatic eroticism, but for me, the space defeated the majesty of the production. Hidden away in a corner, veiled, and deposited on a stool except when I was invited to dance in an orgiastic sequence, there was no sense of space. No opportunity to connect with or truly experience the wonder of the grandeur of gesture or tone and while I can appreciate the notion of closed Victorian spaces and what goes on behind veil curtains, my sense of wonder was replaced by a sense of frustration, irritation and audience abuse. In my reflection, I wonder if the piece would have been more suited to in-the-round or traverse staging where the audience could also have the ‘in your face’ experience the direction mandated. Sadly, for me, this production was unable to traverse the distance of the everyday.
A more successful use of space was the National Theatre’s Macbeth. Once again I made the pilgrimage to the Nova, Carlton to see the HD relay of Kenneth Brannagh’s production.
Expecting a traditional production, imagine my surprise when I discovered it to be in a disused church in Manchester. The nave was transformed into a traverse setting with the sanctuary, a highly appropriate playing area. The balconies, and even the windows, are used to great effect from whence the Witches, Banquo’s ghost and Lady Macbeth deliver their immortal passages.
But back to the traverse, which resembles a muddy racetrack, imagine the audience involvement being adjacent to the numerous real sword wielding battles, the first of which takes place in rain! Yes the turf did become a quagmire and yes the actors strutted through the muck, died in the muck and lied in the muck. This was theatre space from heaven…pardon the intended pun. And although I was only a cinema viewer, I was there in the muck and in the awe of the liminal. If only I’d been there in person. A wonderful experience indeed, where theatre and space did traverse the distance of the everyday.

Almagro Day 5

SEE THE WORLD AND SEE WORLD THEATRE

Almagro International Festival of Classical Theatre, Almagroff, Historia del Loco Cardenio by Shakespeare y Fletcher, Quevado at The Corral de Comedias, Golden Age of Spanish Theatre

This was the last day of the workshop and I’ve attached some photos of the class, some of the group at lunch, and our feet under the table. It was a marvellous experience for me and to meet and go to theatre with Vincente Fuentes was a very special privilege. I would love to bring him to Australia to do a workshop on verse and his method of teaching voice…who knows?

Before I went to the theatre, I went to a beautiful exhibition devoted to the development of theatre scenery and Lantern shows. The history and artistry involved in creating the images for projection was fascinating and the exhibits made me aware of the craftsmanship involved in creating these exceedingly detailed, highly coloured miniatures which ranged from children’s stories and nature to mythological and religious subject matter. In addition to see models of sets for theatre and opera productions in Madrid from the 18c really excited me. Once again, it puts the craft of theatre into context and the respect that Spain accords to its theatre tradition. Sadly there were no photos allowed, but I gather that this was a travelling exhibition from Madrid and there was also a documentary about famous actors and their equally famous costumes which certainly came well into the 20c. Truly, as the Almagro Festival had so much to see apart from the theatre productions, it was very hard to find sufficient time to do it all and I’m really sorry I didn’t get to see any of the children’s theatre, Barroco Infantil. I did however meet the Festival Director, Natalia Menendez, and was able to express to her how her title for the festival, The Colour of the Classics, and her warm introduction to the programme had enticed me to make the journey from Melbourne. I believe the classics are the soul of theatre and my coming to terms with classics from another culture has been a very rewarding experience.

Historia del loco Cardenio at Teatro La Veleta was another valuable experience in introducing me to the existence of a play by Shakespeare and Fletcher about the Story of the Cardenio in Don Quixote. Vincente told me the text is wonderful and so I will make a point of discovering this for myself when I get home. My google research indicates that this is one of those plays around which scholars are divided about the authorship.

At 10.30 pm the Plaza Mayor was buzzing. As people were queuing to get into the Corral de Comedias, a fire twirler was attracting much attention while at the other end of the square an artisan market was selling everything from pickled delicacies, finely crafted ceramics, glove puppets, jewellry, children’s clothing and a spruiker was announcing the beginning of his puppet show.

As the crowd swelled we surged into the Corral with the canvas puled back to reveal the full moon and to allow some breeze into the stifling night. The crowd was so excited and so was I. And I too, had become accustomed to taking a fan with me to see a show!
Quevedo was not a show I especially wanted to see, but I did want to see the Corral in action. Of course it was completely full. The play took a cultural tourism look at Quevado’s work and I got a sense that it was dealing with notions of justice and reason. He too, had been a most prolific writer and raised issues about theology and justice. A rather tricky thing to do during the period of the Inquisition.
Francisco de Quevedo – Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Francisco_de_Quevedo
The play was a 3 hander with a tourist guide cum nun setting the story and then Quevado and another nun discoursing about his works. This was very difficult for me to follow as it seemed quite philosophical and with just one man in a bed, scraps of paper everywhere and two nuns trying to keep him well and fed, on this occasion my lack of Spanish completely defeated me. I did however achieve what I set out to do and that was to see a performance in the Corral. I am sorry it wasn’t a rollicking, bawdy piece of nonsense.
But it was a wonderful experience just to be in the space.

Spoleto Day 7

Robert Wilson, Spoleto, Theatre Lovers, Theatre Tourism, Theatre Travel, ,

SPOLETO DAY 7

SEE THE WORLD AND SEE WORLD THEATRE

Assisi  and Robert Wilson’s, The Old Woman

Today I was joined by my friend, Rosslyn Blundell, who was visiting me from her Archeological dig in Prato, Tuscany. Assisi is a short train ride from Spoleto, but with the Bob Wilson show starting in Spoleto at 17.30, we committed to see only the Basilica of St Francis to ensure we returned in good time.
Once more the day was very hot and we passed through fields and fields of sunflowers under a clear blue sky. My interest in Assisi stemmed from Sandra Shotlander’s play, Blibd Salomein which I played Bernice. Set in Assisi, the dramatic narrative depicts a contemporary relationship that attempts to echo the relationship of St. Francis and St. Clare but with a twist.
Arriving at the station at Assisi, I was astounded at the hilliness of the location and once more we relied on the community bus to transport us to the Basilica to view St. Frances’ tomb. The church is very grand indeed and scattered throughout the remainder of the hillside are other buildings of religious significance with tourists, and perhaps pilgrims, taking advantage of this special place. In all I think I would have preferred to visit a more humble St. Francis location. I believe that his garden, is somewhere near by but the day was scorching.
For me however another special place was a very cute Trattoria where we escaped the heat and had a beautiful lunch.
Back in Spoletto, the town was alive with excitement. This was the last night of the festival and the main event was The Old Woman at the Theatre Nuevo Carlo Menotti. This is a very grand Opera House that is highly ornamented in the Baroque style. There are 4 levels of boxes and our boxes were centrally located with a centre stage view. Booking tickets and finding they are in a box and not in conventional theatre seating is an experience in itself, in that one scrambles for any seat in any box that is empty if you find yours full!

And now to the show itself. A Robert Wilson production is an experience that I think defies genre. He is a master of light, sound and simple aesthetic in light box style. A good deal of the aesthetic pleasure is derived from shape and form being contrasted against a backlit cyclorama so that even a stage hand moving a piece of furniture has beautiful dark form and shape as she moves across the stage. How do we know its a she? By the shadow play of her body.

The show starts with a madcap front of cloth mime with Baryshnikov and DaFoe establishing a high camp sense of the ridiculous. The cloth itself is decorated in nursery rhyme style with the prominence of a bright red dog. My mind was in a whirl trying to decipher what this was all about. Looking for links and clues as to what I was seeing. Both Baryshnikov and DaFoe are in black suits, white face and Ginger Megs style hair dos which project marvellously in the light box. True, the publicity blurb mentions Absurdism, Beckett and Ionesco and so I was prepared for some degree of intellectual stretching.
Repetition of sparse dialogue, tableaux, and evocative sounds was a feature of the piece and slowly the narrative [?] begins to unfold. The Old Woman take is central to the action and the actors response to her death is another storyline. As a representation of the 20th century Absurdist writer/ poet Daniiel Kharms’ view of the world, en.wikipedia.org/wiki/Daniil_Kharms, the mime and dance were stunning. While the text was in English,with Italian subtitles, there was also a good deal of Baryshnikov dialogue in Russian which seemed to provide a metaphysical element. Sadly this alluded me as it was also translated into Italian and was not part of my comprehension. However my sense of the piece was the self talk and repetition of the human mind and how images and situations are magnified out of proportion. This was achieved by a skeletal chair, bed, door and swing which dwarfed the actors and looke marvellous with the speciality lighting against the cyclorama. My mind was also trying to explore the notion of video or games media but there came a time when I made a conscious decision to let that and all other notions of explanation go by and just let the experience take me where it will. After all isn’t that the whole premise of Absurdism?

And that’s why I believe a Bob Wilson work is an experience. I sincerely hope you, too, have the chance to see this extraordinary work at some time in the future. Wilson’s works tour the world and Australia has had two productions this year. The touring programme can be seen at robertwilson.com/calendar

http://www.mif.co.uk/event/the-old-woman provides a review of the premiere of The Old Woman at the Manchester Festival with some great photos of Baryishnikov and DaFoe.

Spoleto Day 5

Spoleto, Theatre Lovers, Theatre Tourism, Theatre Travel

Spoleto Day 5
A Rest Day, Shopping and Student Jazz.

I’m having dinner on the hotel terrace overlooking the Roman Theatre and a performance of dance is taking place below me and its very good indeed – but then ballet is not my expertise. But at last I’ve seen something in that theatre and that’s the thing with Spoletto activities are taking place everywhere. The jazz performance also adjacent to the dei Duchi Hotel, drew me from the terrace into the gracious 16 c building next door to see a 30 piece band going through its paces – again it was of a very high standard, perhaps a little too controlled, but the addition of 6 female singers provided good variation from the intensity of so many instruments. Of course it’s all about show and tell and I’m sure there were many parents present and encouragement of art is always important.
Shopping was good too and Duty Free helps to soften the expense. The shops are beautiful and can be found in rather extraordinary lane ways that you’d think would go nowhere much less to exquisite boutiques of leather, luggage, fashion, wine, olive oil, nappery and cashmere. And on and on it goes…..
The reason for my rest from theatre is that the show I wanted to see was out in the county with no transport provided and the opera alternative was €55 for a show that was not on my must see list. Accordingly the money went on shopping and cashmere was highly favored.
I’ve just included a few random photos of Spoleto, I love the green shutters on the buildings. Blue shutters in Greece, green in Spoleto.
More tomorrow.

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SPOLETO DAY 4
Debussy, A Roman Ampitheatre and The Tempest.

SEE THE WORLD AND SEE WORLD THEATRE

A very hot day which started for me with a lunchtime piano concert in the Teatro Caio Melisso, an opera house originally built in the 17th century and remodelled and renamed after a Spoleto writer in the 19th century. It is on a much grander scale than the Bevagna theatre, and as the second opera house in Spoleto it was instrumental in Menotti’s decision to reside in Spoleto and to establish the festival here. The photos show the highly decorated cloth and the Roman theatre masks on display in the foyer. The music was charming and included works by Debussy and Satie.
The remainder of the afternoon, I devoted to locating the Roman ampitheatre. In the heat I walked for ages thinking I was going to discover a ruin similar to the ampitheatres in Greece, but not so. As I got to the lower part of the town, I could trace the town wall, discovered the empty moat and some Cyclopean walls similar to those on Agamemnon’s palace. Walking alongside the city wall, it eventually became evident that this was a part of the ampitheatre and that what I was looking at was a colosseum type of building that presented spectacles including the martyrdom of St Gregory.
Anfiteatro Romano – MySpoleto
http://www.myspoleto.it/citta/…/Anfiteatro-Romano.html – confirms it was a site for gladiatorial games and seated 10,000 people!
I’ve taken a photo of the street sign because it took me so long to find, but what a find, a colosseum/ampitheatre that is in the process of being restored. It is not in my theatre research unless I can establish that plays were performed here, but a gem nevertheless. Other photos are of the walk and the shady respites along the way.

The 1st century AD ampitheatre beside my hotel, had not only collapsed in the terrain but had been engulfed in the adjoining monastry and then a prison until 1954. It has finally been restored and unveiled as a ballet and concert performance space.
penelope.uchicago.edu/Thayer/E/…/Spoleto/Spoleto/Roman/theatre.html elucidates on the rarity of the paving on the stage, which I have not seen, as it is well covered.

So where does this lack of continuous theatre performance lead me? … to Merida in Spain! Closer to Lisbon than Madrid, it is the site of one the most authentic extant Roman theatres in Europe with all the features of the changes in theatre architecture associated with the Roman developments in theatre. I will be visiting it on the last leg of my journey to see Apuleius’ The Golden Ass. And although I knew of the existence of the theatre, my discovery of The Merida Classical Festival came as one of those freakish things that happen when one is surfing the web. So it this site that I will be exploring in the link between Greek and Roman Theatre long before Italian theatre developed its mystery plays and of course, Commedia del’ Arte – all of which came later- and which in due course, I will explore.

But for now, back to Spoleto and the main reason I am here, even if it is yet another variation in the development of theatre, is to See the World and See World Theatre.
And here, on Day 4 I witnessed exactly that.

Irina Brook is the daughter of the esteemed director and theatre academic, Peter Brook, and as well as being an actress in her own right, she has become an esteemed director, working with Mnouchkine and in developing her own works.
en.wikipedia.org/wiki/Irina_Brook provides a good overview of her work.
With an early evening tempest hitting Spoleto, I borrowed an umbrella and headed up the hill to San Simone to enter the dilapidated medieval church that is now mostly used for performances. And what a great space to house Brooks’ Island Trilogy: The Tempest, The Odyssey, and The Isle of the Slaves.
This evening I was seeing The Tempest and as soon as I entered the dark and gloomy space, I could see the Mnouchkine influence. Pockets of the huge church were scenic display areas. One was a beached and overturned row boat over which young children were playing. Another was a deckchair, a beach umbrella and a young piano accordionist providing jaunty tunes while we queued for the scaffold seating before us and lastly, a somewhat insignificant ladies dressing table and mirror with an empty suit case strewn on the sandy floor.
Sand was everywhere and as we made our way into the playing space we were on an island. One of the players was cooking a meal amongst the immense paraphernalia on a kitchen table. A young woman was writing on a pillar and two surly males were huddled in a corner, one trying to unravel a fishing net, the other being incredibly still.
When the play flew into action, Prospero, is an Italian restauranteur, Ariel, his flashy Maitre D, the fishing net unraveller is Caliban and of course the beautiful young woman writing poetry on the wall is his daughter Miranda.

The play, in French with Italian surtitles, plus some English is a magical romp that only occasionally uses the Shakespearean text and often injects other Shakespearean and Byronic quotes. It is all a truly delicious, magical mayhem. The cast is wonderful, especially Miranda and Caliban and the range of genres that the work employs ranging from hip pop to waltz to replay parody a la Buster Keaton was a delight….in fact it was one delight after another. I congratulated Ms.Brook after the show and she told me it had been 2 years in development in France and that The Odyssey had been 10 years in development. What a marvellous accomplishment. I see both The Odyssey and the Isle of the Slaves on Day 6. I can’t wait to see how she again utilizes the space and how the actors adapt so quickly to two new plays. This production of The Tempest is a must see and I hope it gets picked up for the Melbourne Festival some time soon.

Spoleto Day 3

Spoleto, Theatre Architecture, Theatre Lovers, Theatre Tourism, Theatre Travel, , , ,

See the World and See World Theatre

PORNOGRAPHY by Witold Gombrowicz
This was a programme I chose from a deep resistance to the subject material and because I knew very little about this acclaimed Polish writer.
en.wikipedia.org/wiki/Witold_Gombrowicz
My first surprise came when I realized that the theatre for this event, Teatro Francesco Torti of Bevagna was not on the Spoleto map. Where is Bevagna?’ I asked the incredibly helpful Festival Office attendant, ‘in the country’ was the reply, ‘but there is a festival bus to take you there, however you need to book 48 hours in advance.’ I’ve encountered a couple of examples of this sort of bureaucracy in my travels and managed to solve it with a big smile and pleading the ignorance of a foreigner. Anyway, Chiara secured a seat on the bus and in the meantime I took advantage of a free concert in the Largo Di Clementi. It was a 6 piece wind ensemble with the emphasis on saxophones of all sizes plus a clarinet made of gold. When the concert finally got under way, the music was charming.Then off I went to Bevagna with another 60 or so Pornography revellers.
Once more the countryside was beautiful with fields and fields of sunflowers in the 7 pm sunshine.
Arriving at Bevagna was like arriving on a film set that one had seen many, many times.
The town is medieval and Teatro Francesca Torti absolutely amazed me. I am told that these sorts of theatres exist all over Italy, but for me it was a first in that it was a provincial Teatro and did not have the gaudiness of Renaissance theatres. I had booked a ticket in the gods as this production was not high on my list of must-sees, and on arriving in the dizzy and hot heights of Loggione, I was greeted by a swathe of Roman murals on the ceiling and walls. The charming Senorita, informed me that if the theatre was not full I could venture down to the stalls. This I did, prompted by a Philosophy student, and I ended up in a box! What an adventure.
And then 3 hours of the play, thankfully with an interval, when I crossed square for a gelato.
Pornography is set during WW2 and is more a question of voyeurism than pornography. As an adaptation, and an Italian premiere, I believe it could benefit from concerted cutting. One delight for me was the use of the tracks in the stage which could make items of furniture and other paraphernalia appear and disappear at will.There was a performance by a strikingly attractive 40-something woman that was a standout. Not only did she shake with every fibre of her body to indicate her state of anxiety, she later appeared totally naked and blood smeared as a victim of rape and murder. That performance was truly arresting.

In my initial research tracing the development of theatre from Ancient Greek to Ancient Roman theatre, I had been unsuccessful in locating any extant theatres of the medieval period in Italy, let alone theatres presenting early Roman or Christian material. So here I was in a 251 seat Medieval theatre that had been beautifully renovated in the 19th century. Mr Google translated some details for me:

Teatro Francesco Torti, Bevagna
Piazza Filippo Silvestri 06031 BEVAGNA PG Tel 0742 368123 Fax 0742 361647 Type: Theatre E-mail: pbevagna@bcsnet.it – sociali@comune.bevagna.pg.it Disabled access: YES Monumental building: YES Visits: YES Capacity seats: 251
Where is
Torti The theater is located in the main square of Bevagna , a charming medieval village situated on a small hill at the western edge of the Umbrian Valley.
Today the theater is part of the Circuit City Museum which includes a visit to the Museum and the Mosaic of the Roman Baths . In this circuit, recently, it has been joined another, the Cultural Crafts Medieval , with separate ticket or cumulative.

It was once
The theater is housed in Palazzo dei Consoli, built in the thirteenth century.
On the ground floor is still the loggia, covered with three large Gothic arches and a quarter smaller, probably used as commercial space.

Why visit
One of the smaller theaters of Umbria, only 251 seats, is dominated in its limited size by harmony and perfection.
Tastefully decorated, contains interesting paintings nineteenth century, the particular location within a historic building nell’asimmetrica Piazza Silvestri, makes the visit even more striking.

Description
Made in 1886 by architect Antonio Martini, is named after the local scholar Francesco Torti.
The theater has a plant in a horseshoe, three tiers of boxes and a loggia; railings are made from cast iron columns.
The ceiling is the work of Mariano Piervittori and represents the Muses dancing. The original curtain was painted by Domenico Bruschi with Propertius Torti who points to his homeland in 1886 during the restoration of 1994 was another curtain created by the painter Luigi Frappi Bevagna with’ll Clitunno river with poetic and memorial temple.
The coat of arms above the curtain in 1380, donated by Pope Innocent IV, it states “OSF”, which stands for “Ob servatam Fidem.”
After the structural restoration, the theater is regularly active.

Curiosity
The construction of the theater was strongly supported by the citizens who in 1871 had gathered in an organizing committee. The inauguration took place on the evening of August 28, 1886, for the occasion, the impresario Alfredo Wolves staged the ‘Ernani, along with The boarders of Sorrento.

http://www.regioneumbria.eu/default.aspx?IDCont=2570 has a lovely (professional) photo of the theatre.

http://www.teatrostabile.umbria.it/pagine/bevagna-teatro-torti – has a wonderful photo of the ceiling fresco depicting the muses and thus evidence of the carry over from Greek to Roman.

OK so I saw a 20 century piece of theatre, but just finding the theatre was gold and I would certainly include it as a must see if organising a tour. I think this is the first time the theatre has been utilized in the Spoleto Festival but wouldn’t it be great if they could stage a medieval piece in there? Perhaps some of my actor friends and I could do it under Angela O’Brien’s theatre history
guidance.
Any of my theatre cronies up for it? 🙂

Athens Day 5 Island Hopping and Iphigenia in Aulis

Athens/Epidaurus, Classical Theatre, Iphegenia in Aulis, Theatre Lovers, Theatre Tourism, Theatre Travel, , , , ,

Athens Day 5 Island Hopping and Iphegenia in Aulis

This is a photographic record of an Island Hopping Tour. The Greek Islands are everything everyone says about them and there is nothing other than to experience them for oneself.

Iphigenia in Aulis, once more a postmodern interpretation, highlighted Euripides’ doubt in the current status quo. The play is regarded as an ironic drama and this production was certainly played for humour and the audience responded with guffaws of laughter.

The setting is the port of Aulis where Agamemnon and his army are setting sail for Troy to recapture Helen. However, Artemis has becalmed the seas and requires a sacrifice to enable the army to get under way.
http://www.ancient-literature.com/greece_euripides_iphigenia_aulis.html provides a very good synopsis of the plot.
As an aside, it seems that Aulis is a port in Thebes, where I passed through yesterday.

The staging has the sensibility of down and out. There is a metal watch tower, discarded and dysfunctional shipping apparatus, small sand dunes which provide isolated performing areas and strips of shallow water.
The actors were attired in modern dress and the chorus in this production consisted of two flapper-style bathing beauties who decorously draped themselves amongst the sand and watery shallows.
On another note, I couldn’t help but wonder if the play could be interpreted as a parody on Greece’s currently becalmed financial situation and what sacrifices are needed to change the tides of good fortune.

My lack of Greek did not impede comprehension of this piece and while knowing the story helps, it was the production design, direction and attention to detail that captured my attention and my admiration. Agamemnon was a sorrowful fellow with a big problem. Iphegenia was a fey young women, who went to her sacrifice like a lamb to the slaughter – please pardon the cliche, sometimes they are useful.

The first time director, but acclaimed actor, Maria Protopappa, did not entertain any histrionics and the beauty of the text was apparent by each of the actor’s complete and unselfconscious immersion in the narrative. I do like listening to Greek when delivered well. There is such charm and power in the sounds and phrasing.
This production, also in the industrial conversion space, utilized the emptiness of the space with its most engaging set. Again, the audience loved the show; they laughed heartily, we’re incredibly silent in the most intense moments and erupted into wondrous applause at the play’s conclusion. It is becoming more and more apparent just how important the arts are to the locals and I consider it a great privilege to be a part of such appreciation.

Day 4 The Theatre of Apollo at Delphi

Athens/Epidaurus, Classical Theatre, Delphi, Theatre Architecture, Theatre Lovers, Theatre of Apollo, Theatre Tourism, Theatre Travel, , ,

SEE THE WORLD AND SEE WORLD THEATRE

THE THEATRE OF APOLLO AT DELPHI
Today I utilized the knowledge and experience of a conducted tour, and as I had already seen the main Festival offering, Ibsen’s, An Enemy of the People, at the 2012 Melbourne International Arts Festival, I opted for a leisurely Greek taverna dinner with an Athenian friend in the evening.

The exceedingly well organized tour was headed by an exceptional guide who cheerfully imparted her wealth of historical, mythological and topical material. Leaving Athens, the bus took a 2 hr drive through its urban sprawl, fertile plains and seaports, into the dizzying heights of the mountains. Amongst the urban sprawl was the location of Marathon, the plains of Thebes, the Sanctuary of Olympia, the site of The Muses, and the Temple to Demeter, which is of great interest to me as it is the Temple associated with the Mysteries School.

In terms of Greek Theatre, David Wiles has devoted a good deal of scholarship to the notion of the significance of place. Indeed this was an element I engaged in my own Masters thesis in as much as a playwright will make reference to a place and by association, the audience will appreciate the deep meaning. Although associations of place had already been aroused in me, in view of actually passing through the places encountered in ancient literature, it is an area I would like to explore in my future studies of Greek drama texts.

The Temple of Apollo is located on Mount Parnassus. The extraordinary rugged beauty of the place in high summer belies its existence as a winter playground for cross country skiing and snowboarding and other snow activities I know nothing about!

Arriving at the Temple of Apollo, and passing through the agora, one is seemingly greeted by the imposing columns of the altar at the entrance to the temple, and at which, supposed sacrifices took place prior to performances in the theatre.
Theatre, according to one source, http://www.coastal.edu/ashes2art/delphi2/sanctuary/theatre.html, was a sacred act with the priest of the temple officiating. Actors were also sacred and highly revered, and from my observations, this attitude seems to persist amongst modern Greeks.
The ampitheatre, which seats 5000, is well preserved and overlooks the The Temple. As the patron of Delfi, Apollo is the god of light, music, poetry, healing, prophecy and more, and is the twin brother of Artemis, goddess of hunting.
http://en.wikipedia.org/wiki/Apollo, gives an excellent account of Apollo’s duties as the Patron of Delphi/Delfi and also makes clear the positioning of Delphi as the navel of the world. Indeed the ancient ompholos is represented by a concrete replica on site with the supposed original ? or at least, another replica housed in the site museum.
Our guide explained that the site is exceptionally high in magnetic energy, which in turn, is associated with prophecy. I watched as a tourist carefully placed his hands on the concrete ompholos and I hope he was blessed with a suitable Delphic response.

When I asked the guide about contemporary use of the theatre, she informed me that several years ago, Vanessa Redgrave had performed Phaedre here. Wow! (even though it’s unsubstantiated.)

The visit to this site has revealed just how much more I want to learn about Ancient Greece. It is very inspirational. For my next trip, I intend to have expanded my knowledge and to have obtained a passable amount of basic Greek. For the most part, people working in museums and tourist places speak English, but everyone responds very well when you greet them with kalimera and acknowledge them with efpharisto.

Dinner in a back street taverna near Monastiraki was wonderful. Angela Makris ordered a wide range of local delicacies ranging from deep fried feta with honey and oregano, local salad, meatballs, and I can’t remember what else. Although I do remember the ouzo. I really enjoy the freshness and relative simplicity of Greek food and the taste of tomatoes and other salad vegetables is very different from Australian salad vegetables. Maybe Greek soil is magic!

Walking through the main streets of Athens at night was without incident and at no time have I felt unsafe.

Athens Day 3

SEE THE WORLD AND SEE WORLD THEATRE

ANTIGONE at the Benaki Museum

I have heard it said that many theatre lovers become despondent when the Ancient Greek classics are reinterpreted. And despite my desire to also see a grand chorus and Tiresius making his sightless entrance, this production, with just 6 actors sans Tiresius, was a well executed representation of societal limitation. The architecture of the museum Atrium was intrinsic to this notion with floor to ceiling glass window frames boxing the frustrations of each of the characters. The grand chorus was a one – woman tour de force. Antigone was lithe and athletic in her earthy despair while Ismene was a tall, detached vision of loveliness in blue. Kreon, was huge in stature and in his delivery. For me, subtlety is always a winner but the audience seemed to enjoy his expansive gesture and vocal delivery. My handy ipad with the English text was not a success on this occasion as I had few pointers to connect to within the adaptation. Once again the audience appreciation was vast and it is apparent how greatly culture is revered in Greece. Indeed the Festival Director, in his opening gambit, suggests how culture eases hardship and reignites qualities of hope and beauty. He also comments on the deliberate choice to focus his festival on Greek content with Greek performers. Selfishly this pleased me enormously. The day was spent making the acquaintance of a dentist. My first bite into a Greek apricot meet with resistance from a molar. Sadly for me, the apricot won. Dr Theodoros Papadakis was a delight. The surgery, an aesthetic feast of works of art and interior design and he just happens to have the same name as my Theodore. As a theatre lover himself he was immensely interested in this project and was curious to get my impression of the local cultural content and appreciation which in turn elicited my admiration and a query as to whether it was just because of the festival. Not so, he assured me and spoke of the excitement surrounding the upcoming all-male version of Medea. I, too , am greatly looking forward to it as the finale to the Athens leg of this journey.

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Athens Day 2 Love and Intrigue

Athens/Epidaurus, Classical Theatre, Love and Intrigue, Schiller, Theatre Architecture, Theatre Lovers, Theatre of Dionysis, Theatre Tourism, Theatre Travel, , , , , ,

SEE THE WORLD AND SEE WORLD THEATRE

SCHILLER’S LOVE AND INTRIGUE

Today I explored the Acropolis and despite the heat and the hard the climb, one is humbled by the achievements of the Ancient Greeks and the truly awesome expression of excellence in architecture and religion. For me the highlight was sitting in the Theatre of Dionysis – the birthplace of Western Theatre. Also on the Acropolis, is the Odeon of Herodes Atticus which symbolizes the next phase in the development of theatre – that of the Romans. Sadly for me the festival programmes showing at the Odeon while I am here are showcasing contemporary singers and other genres that are not part of my thesis. So instead I went to a production of Schiller’s Love and Intrigue. While this is an 18 century German text, my reservations about the language for a modern audience were totally dispelled by the adaptation of the piece into Greek tragedy. The adaptation was superb and ticked all the boxes for the elements of Greek Tragedy while the delectable sounds of the Greek language translation coupled with Greek emotional sensibilities enlivened the piece significantly.

The setting for the production was a great adventure to an industrial area of Athens where a factory complex was turned into a theatre space. The sparseness of the set and mere suggestion of German period costume were ideally informed. The playing of a complex plot with many characters was executed by just 2 female and 4 male players all of which was handled with perfect suspension of disbelief including a beautiful mime sequence which served as a prologue to the piece as the audience entered the auditorium. For me, a non Greek speaker, I tested out the use of my iPad with an English translation of the German text and page turning as the play went on. It worked marvelously and knowing the plot and the characters, I could quickly skip through the cuts and doubling of characters. In all it was a very worthwhile experience including the festival’s consideration in supplying a bus to return patrons to the Athens city centre. This was followed by a short walk on a balmy evening back to my hotel. Another really great day of seeing the world and seeing world theatre.

The Theatre of Dionysis
The Theatre of Dionysis