THEATRE ROOM -ARCO STUDIO – SEPTEMBER-DECEMBER 2012

“The chamber theater” has become a fixture in the planning of the company The Crucible, need turned into virtues: the permanent loss of the historic Teatro Arc led the group led by Mario Faticoni to diversify the places where people offer their production of the show, the Teatro Alkestis, space Riverrun, space Santa Croce, to mention only those visited in recent months.

Among these the Arch Studio remains place of choice, both for the historical memory that preserves inside, both for the characteristic structure that allows a double front of representation to accommodate programming music and prose.

An intimate relationship that is created between the public, forty seats available, and the artists on stage, which goes into conviviality after the show, including the books in the study center and an aperitif.

A review that is based on two important partnerships, one with the cultural association Trespassing, which continues after the successful experience of the season of Spring and the one with the Conservatory of Music Pier Luigi da Palestrina.

The season begins September 29 will continue until December 22, at the opening next Saturday at 21 (this is the start time for all initiatives) THE DAY OF Watcher by Italo Calvino, with Adriano and Mario Faticoni Orrù bass .

From the novel by Italo Calvino short, is here proposed an adaptation for theatrical reading. The protagonist, Amerigo Ormea (Calvin’s alter-ego) is appointed scrutineer for a left-wing party in the general election of 1953. The seat, however, is the famous hospital “Cottolengo” of Turin. Its role as a controller of any fraud is somehow undermined grotesque and painful atmosphere of the place added to doubts about the politics that emerge in the protagonist / author. Fifty years after the publication of a text is incredibly current.

On October 6, at 21, you go to the concert SIMM’E NAPULE ‘with Anna Lisa Mameli, voice, Corrado Aragoni, piano and Tonino Mace, guitar, mandocello, charango (strings), arrangements and musical direction Corrado Aragoni.

The show ‘Simm’e Napule’ is a tribute to the traditional Neapolitan song, a concert conceived as a journey through the melodies and verses that have made this true art form known and loved throughout the world.

Embellished with a brief history and anecdotes about the songs and their authors, the repertoire crosses the golden age of the melodic tradition in Naples between 1800 and 1900, allowing himself some ‘trespassing chronological': the villanelle of 500, through D’Annunzio, to the ‘modern’ Carosone and Modugno.

The selections are the most representative of the rich and famous Neapolitan music, ranging in different themes and styles that are typical of the genre: the sweet and passionate ‘serenade’ to the song ‘café chantant’, not to mention the joyful and solar ‘tarantella’.

Again featuring the artistic director of The Crucible Oct. 13, at 21, Mario Faticoni reads “Judgement Day” by Salvatore Satta, excerpts, music by Alessandro Olla.

Work to be revisited as a prayer, so there is feeling of mystery of life, joy unspeakable pain of life, life that is death, death is still life. The portrait more exciting, more truthful, more sweetly cruel of the human condition Sardinia, made universal by the posthumous novel translated all over the world. The crucible in ’95 was happy to lose the bet that the stage or the screen always lose against such prodigies narrative: with “Borgo ecstatic,” debut crogiuolesco Rita Atzeri and other young actors, deliberately took the path of music, dance, at the service of lightning flashes that thought away from it to avoid being burned. He was a humble invitation to read, and reread, as you do with Mozart.

For that fresco of Dante, by the highest merciful gaze, for the entirety of tragic and comic, the narrative language of Satta is unparalleled.
Perhaps reading can make humbly on the high literature.

On 20 October, at 21, the first of the musical events in collaboration with the cultural association Trespassing, CLOSE TEXTURE with Takatsuna Mukai – electric violin and Silvia Corda – piano and keyboards.

“Close Texture” is a concert of electro-acoustic improvisation in which the two musicians propose a series of soundscapes linked to many different genres.

The tools are used with their sound natural or processed by electronic intervention in a continuous game of displacement.
Improvisation is structured through a pattern (texture) in which the elements can be preordered suddenly overturned by the insights of the moment.
On 26 October, at 21, still in Mario Faticoni SMILE AT THE FOOT OF THE LADDER Henry Miller, with musical accompaniment by the Conservatory of Music “Pierluigi da Palestrina.”

In the history of Augustus, the brilliant and desperate clown who plays every night, “the drama of initiation and of martyrdom,” Miller wanted to talk about a true artist and his arduous path. Written in 1947-48, the poetic and brilliant fictional biography of the clown was requested by Fernand Léger, influenced by the paintings on the circus Roualt, Miro ‘, Chagall, Seurat and Max Jacob. In 1991 The Crucible presented the work at the Arc Theatre in provocative staging of Bruno Meloni, a show “no action” with an actor speaking, Mario Faticoni, without the scene of the voice, instead entrusted to a Radione that next he chanted his makeup and dress for the “action” and then make-up off and undressing and finally dying at the moment when the truth is craving for. A show was born in the spirit of the theater of the author. This evening, the pleasure will change from stage to literary work focusing on listening to harvest.

New musical event Nov. 10, at 21, with a concert GABRIELLA ALWAYS, Anna Lisa Mameli, voice, Corrado Aragoni, piano Remigio Pili, accordion, arrangements and dir. Corrado Aragoni music, lyrics by Anna Lisa Mameli.

It continues Nov. 16, at 21, with another initiative by Trespassing UNWRITTEN SCRIPT, Marcello Magliocchi – percussion and Adriano Orrù – bass

Two musicians interested in improvisation understood as instant composition. The influence of various musical styles frequented by musicians in their career becomes the sound material on which to interact.

On 23 November, at 21, GRAHAM – BARTOK with Clara Murtas and Mario Faticoni, piano Silvia Corda. Texts by Antonio Gramsci and Tania Schucht mounted by Giorgio Baratta, an adaptation of Clara Murtas, music by Bela Bartok

On 7 December, at 21 “A NATION OF POETS. Words and music in the Italian poetry “
and starring Clara Murtas and Rita Atzeri
From Rosa fresca aulentissima of Ciullo d’Alcamo, or from the sources of Italian literature descend down into the valleys and rivers formed by the various factions and the various regional languages.

In the currents formed by those poets who have made singers of poetry sometimes for people to become more closely, it becomes song and ballad music, so even if cultured returns to his oldest popular origin.

In this recital, Dante, Ariosto, Sanguineti, Calvin, Morante, Wells, Pen, Merini, meet with Di Giacomo, Trilussa, Buttitta, Mossa, Alcioni, all gathered around Pier Paolo Pasolini, the poet more contemporary, more caught, closer to popular culture and less loved and understood by the Italian people.

On 14 December, at 21, BAROQUE MUSIC CONCERT by the Conservatory of Music “P. da Palestrina. “
It closes on December 22, with the gifts of Christmas, Tiligù and Theatre cabinet offering “The neighbor” by Milena Agus. In scene Fabio Marceddu.

The story of Milena Agus, moves suspended between worlds impossible, oxymorons between existential and poetic that leave the skin track, reminiscent of the salt after a swim in the blue waters liberating sardines.

Moving these poetic universes, from the thrill of discovery, and the fascination of falling determined by concepts and situations that buy universal value in their simplicity.

The four characters that move in this story are bound together by un’insostenbile heaviness of being.

Their meeting in a magical synthesis, make lighter heaviness of life.

The theatrical adaptation, is a re-reading of the text, with inserts of other characters as possible, specially created by the playwright, music and raids, that fit into the dramatic fabric, in a non-random, but become part of the drama.

The admission of this Reading, or to put the Sardinian “ridding” (which in English means then get rid of, or release), is the book itself, where the viewer reader will find the answers to the questions investigated.

ARC STUDIO, via Portoscalas 17, Cagliari

When
From September 29 to December 22, 2012

Info and contacts
The Crucible
Tel 070 657276
e-mail. ilcrogiuolo@tiscali.it
Admission € 4.00 – € 5.00 – € 10.00