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Spoleto Festival, Italy.

See the World and See World Theatre

Spoleto, set high in the hills of Umbria couldn’t represent a greater contrast from Greece. Arriving in this Roman town with it’s winding streets, tall stone buildings, magnificent architecture, plazas, and beautiful pot plantings on a busy Sunday afternoon, one was struck by the sophistication of the place boasting one of the finest art festivals in the world. Spoleto, The Festival of Two Worlds. The bunting promotion in association with Mercedes Benz in the central plaza states ‘ Art or Nothing.’
A browse through the historical literature reveals that the city has a pre-Roman existence going back to the 10-11 century BC. It was a colony in 241BC and a municipium in 90BC.
In the light of this knowledge I am interested to trace the origins of the local ampitheatre to explore the theatre productions which took place here. A small Roman theatre abuts my hotel.
Please forgive my getting so absorbed in my research that I tend to overlook expressing the sublime beauty of the countryside. The light here is soft and often hazy and on several occasions there has been afternoon thunder and light rain. The sophistication of the place extends to the attire of the locals. They are so well turned out. Even the young concierge in the hotel looks like he has stepped out of a high couture journal. Magnifico!
Women are highly adorned with jewelry, impeccable make up and casual doesn’t seem to be part of the dress code. I wonder how they manage the cobble paving in their smart shoes…
I had intended to have a little rest in Spoleto after the somewhat hectic pace in Athens and the plays I have chosen to see are well spaced throughout the week. However, as always, I couldn’t help myself, and on Day 2, I found myself at an exhibition production of the European Youth Theatre featuring students from the Conservatoire National Superieur D’Art Dramatique. It was a dramatic adaptation of Dostoyevski’s 1877 short story,The Dream of a Ridiculous Man.
The play took place in a crypt of one of the many churches and grand public buildings. I hope the photo shows the beauty of the vaulted ceiling.
It’s always good to support newcomers to the craft and throughout the festival, Spoleto provides the opportunity for European Acting Academies to present their talent. As well as encouraging new talent, I always make a determined effort to see I work I don’t know, as was the case with this Dostoyevski. It’s about his realization, since a small child, that he was ridiculous and that ultimately there is nothing worthwhile in life and therefore he must commit suicide.
Presented as a 3-hander, by the plays’ end the actors had managed to seduce sufficient numbers of the audience to take their places in the playing space, and then exiting, thus making them (the audience/everyone/ tout le monde) ridiculous. Being in French it was relatively easy to follow the narrative.
Back at Hotel dei Duchi for dinner, I’m watching the palest of sunsets disappearing behind the Umbrian mountains. The Golden Hour has been magical and the light here is soft an enchanting. It is a soft landscape particularly after the ruggedness of Greece. The light is more gentile and the sun
a little kinder.
Once more, I am reminded of my thesis and how art, whether theatre, painting, music, dance, literature and even cinema, is born out of place. I’m very excited to explore Spoleto and the festival offerings. Clearly it is a very important event in the year and as yet I’m having difficulty in identifying the locals from the art lovers coming from afar. There is so much going on in a quiet and unassuming way, everywhere you turn you find plazas set up for events, some of them free and at all times during the day and evening. Some events are even out of Spoleto in the countryside.
Finally, I feel compelled to make a comment with regard to a comparison of the Spoleto Festival we used to have in Melbourne,which from my memory was more of a street festival. This is not the case in Umbria.

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Spoleto Festival, Italy.

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Athens and Epidaurus Festival, 2013 + Ionesco’s Rhinoceros

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Athens Epidaurus Festival, 2013

DAY 1 of this tour and already I’ve broken the premise of exploring the history and development of theatre by seeing Ionesco’sRhinoceros at the Onassis Cultural Centre. Of course Ionesco is renown for Absurdist Theatre and when one gets the opportunity to see a French theatre company performing in the original language as part of the Athens Epidaurus Festival, I firmly believe the variation in the thesis can be justified with a view to future research in the Post Modern period when perhaps one can travel to Paris and Ionesco’s native influences and explore his perceptions of Nazism and Facism that gave inspiration to this marvellous piece of theatre.
The atmosphere in the Onassis Cultural Centre was palpable. The building itself is a wonderful monument to cultural philanthropy and the show appeared to be a sell out. The production values, so often overstated for this work, relied mostly on the mechanics of a set that could move and heave as the drama unfolded to a point where the extreme 45 degree angles of the office playing area, had the characters clinging on for dear life: a perfect metaphor for the piece. Also extraordinary was the beautifying of the rhinoceros revealed in a picture portrait centre stage to perfectly reflect the idolatry associated with this peculiar Other.
Perhaps as an Antipodean I have never experienced the reaction of an audience with at least 20 curtain calls. All of which were executed with the fine precision and attention to the work of the ensemble as a whole. That the play was delivered in French with Greek sur-titles did not impede the pleasure. This was truly an example of how great drama, like opera, can overcome perceived language barriers.

 Emmanuel Demarcy-Mota Eugène Ionesco, Rhinoceros 30 June - 1 July, 21:00 Onassis Cultural Centre

Emmanuel Demarcy-Mota
Eugène Ionesco, Rhinoceros
30 June – 1 July, 21:00 Onassis Cultural Centre
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Athens and Epidaurus Festival, 2013 + Ionesco’s Rhinoceros

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