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Anna Maria MonteverdiAccademia di Belle Arti-Lecce-
Storia dello spettacolowww.annamonteverdi.it
The Machinery of vision in the theatre of Robert Lepage
La tecnologia negli spettacoli di Lepage aumenta l’umanità di una performance da vivo (Peter Brook
“The survival of the art of theatre depends on its capacity to reinvent itself by embracing new tools and new languages.
In a way, innovators in both arts and sciences walk on parallel paths: they have to keep their minds constantly open
to new possibilities as their imagination is the best instrument to expand the limits of their fields.
WAGNER, THE RING+ Ouverture
The platform also has 24 movable planks attached to it that are designed to transform into a staircase and wall in which computer-generated images are projected. In addition, thanks to hydraulics, automation and technicians, The Machine can transform into different configurations
When the director of the Cirque du Soleil asked me to collaborate with them, he told me I could do what I
wanted but I had to necessarily develop the action covering all levels from floor to ceiling..
He told me that this imaginary vertical line was to be my constant reference. It made me realize one
important thing: the circus is vertical, and when you work on a
circular space you necessarily need also of verticality
VIDEO Jeux de cartes
I started Jeux des cartes aware that it would be very problematic
to work in a circular space: to find the level of acting, deciding to play in front of only a part of the public but necessarily from
behind to someone else
I really liked the idea of the circle, the fact that the viewer sees the show and at the same time see the other persons and
their reactions. Thus you are aware of being part of a kind of community.
Québec city, 1957. Famiglia mista: anglofona e francofona.
Conservatoires d’arte dramatique, specializz.a Parigi (Scuola di Alain Knapp). Metodo mimico di J.Lecoq
Sttore e regista all’attività di Theatre REPERE di J. Lessard fino al 1989
Fonda EX MACHINAwww.exmachina.qc.caEPIDEMIC
ROBERT LEPAGE
RSVP cycle di L. e A. Halprin> sistematizzazione del processo creativoR (Risorsa):S (score);V (Valut/azioni):P (Performance)
METODO EX MACHINALepage riprende dal metodo REPERE IL RERE-Risorsa= Oggetto risorsa (germ du départ) è il punto di partenza. Un elemento concreto, materiale, metonimico e metaforico insieme che si presta a metamorfosi. (muro in Polygraphe; oblò in La face cachée de la lune, macchina fotografica per Les sept branches de la riviére Ota, puzzle per Le plaques tectoniques, un monolite per Elseneur
PROCESSO CREATIVO• METODO DI J. LESSARD- THEATRE REPERE
THE SEVEN STREAMS OF THE RIVER OTA
1642. Colonia Nuova Francia (commercio-evangelizz). 1754-1763 Guerra dei sette anni: guerra tra Francia e Gran Bretagna (Conquista). Montréal cade nel 1760. L. Groulx: “Con la Conquista la regione avrebbe rinforzato il sentimento nazionale”.
1867 Nascita della Confederazione Canadese
1960: RIVOLUZIONE TRANQUILLA; 1968: nasce il Parti Québecois: moti separatisti del FLQ. “Negri bianchi d’America” (P. Vallières); 1970 crisi d’ottobre, uccisione diplomatico britannico;1976: Parti Québecois al potere con Lèvesque; Loi 101-Carta della lingua del francese-Bilinguismo. 1980-1990 Referendum sull’indipendenza.
QUEBEC:La Questione Linguistica e PoliticaFrancia e Inghilterra
887 (2015)
The dragon’s trilogy (1985)
In the beginning…
In the beginning there was nothing, or almost nothing.
Six actors (including the director), plus two set designers and a producer, all seeking the road to the Orient.
In a wasteland turned into a parking lot, imagination and memory began digging deep.
In the beginning there were three Chinatowns – one in Quebec City one in Toronto and one the Vancouver.
There was the imaginary China of myth and cheap goods, of the blue lotus, of Tao, taï chi, Chinese laundries, yin and yang,
rickshaws and « made in Hong Kong ».
There was the story of Aunt Marie-Paule who married a Chinese man, and the parking lot.
In the beginning there were Françoise and Jeanne, twelve years old and inseparable friends.
They played in the store with shoeboxes, making St. Joseph Street and its boutiques come to life.
There was Lépine the undertaker and the barber shop belonging to Jeanne’s father, where she spied Bédard and all that fascinating red hair,
and there was also old Mr. Wong’s laundry, where one chilly night a certain William S. Crawford showed up, just off the boat England with
hopes of setting up shop in Quebec City.
Marie Gignac
The blue dragon-The sequel
Trailer
Mr. Lepage and his collaborators ''seek to create a theater where the terrifying and incomprehensible reality of our time is inseparably
linked to the insignificant details of our everyday lives. .
La casa azul-Frida Kalho (2002)
ANDERSEN PROJECT
ANDERSEN PROJECT
Rotorelief
Duchamp
LES AGUILLES ET OPIUM
Life and death of Miles Davis and Jacques Cocteau
LES AIGUILLES ET L’OPIUMGli aghi e l’oppio video
“I like to transform the scenic environment by creating elements
that move and turn, on stage, in full view of the audience. My main
visual signature as a designer can be found in the way I sculpt the space and keep it in motion.”
ELSENEUR (1995)
ELSENEUR (1995)How would Shakespeare have written Hamlet if modern technology had been available? He would probably not have used the same narrative and dramatic techniques.
In the modern world, Hamlet would perhaps have been in a hospital undergoing radiography or a scan. And what would happen if we could put Hamlet in front of an X-ray camera ? What would we see ?
These questions serve as the starting point for the experience
Elsinore, a solo show is a sort of the exploration of Hamlet’s mind: all the
characters are places in his mind: “The father the ear, the mother the eyes, the actors the
mouth”.
I did it as a monologue, a kind of dream memory of the entire play. I
restructured the text, beginning seconds before Hamlet dies. So the work is seen as a flashback, with
Hamlet speaking the text of Ophelia, Gertrude and all the other
characters. The play really takes place in Hamlet’s mind. It begins with his last speech and ends with
his last speech.”
HAMLET a monologue, BOB WILSON, 1995
ELSINORE
Elsinore, a solo show is a sort of the exploration of Hamlet’s mind: all the
characters are places in his mind: “The father the ear, the mother the eyes, the
actors the mouth”.
HAMLET MOSCA 1913
The object of my invention is to provide a device which shall present the aesthetic advantages of the plain curtain but shall further be
capable of a multitude of effects which although not intend to produce an illusion shall nevertheless assist the imagination of the spectator by suggestion. My invention consists in the use of a series of double jointed folding screens standing on the stage and painted
n monochrome –preferable white or pale yellow. The screens may be used as background and in addition to this use, may be so arranged as to project into the foreground at various angles of perspective so as to suggest various physical conditions such as, for example, the
corner of a street – or the interior of a building”. Documento proveniente dalla Collezione Arnold Rood e pubblicato in occasione
della mostra Exploding Tradition: Gordon Craig 1872-1966 (Victoria & Albert Museum, Londra, 1998)
Gordon Craig (as Stage-manager), 24 gennaio del 1910, patent office,
the screen-patent 1771
THE SEVEN STREAMS OF THE RIVER OTA
SCENA MINIMALISTAMULTICULTURALISMO (Oriente e Occidente)
MULTILINGUISMO (Francese-inglese)TEATRO DI LUCI E OMBRE-
INTEGRAZIONE TECNOESPRESSIVA-TECNOLOGIA A TEATRO
TEATRO-CINEMA
ELEMENTI RICORRENTIELEMENTI E TEMATICHE RICORRENTI
PROCESSO DI CREAZIONE TEATRALE: MAI FINITO WORK IN PROGRESS (Teatro degli anni 70)
PRIMATO DELLA PROCESSUALITA’ CREATIVA SULL’OPERASPETTACOLI CHE HANNO SUBITO VARIAZIONI NEL CORSO
DI ANNI- non per incompletezza: ogni versione è provvisoria. La stesura del testo significa morte dello spettacolo.
“Si scrive quando lo spettacolo non esiste più”
CREAZIONE INFINITA
MACCHINA: DRAMMATURGICA, SCENICA ATTORIALEIntegrazione tecnoespressiva di vari medium: cinema e video.
Prestiti linguistici (spazio-tempo filmico).Meccanizzazione della scena come nel teatro rinascimentale; la
macchina è mossa a mano, i meccanismi sono a vista.
Attore diventa macchina dentro gli ingranaggi e la macchina acquista i movimenti umani.
Macchina nelle sue metamorfosi anticipa quella dei personaggi: la scena meccanica e video è doppio della trama e del personaggio
MACCHINA SCENICA
Teatro come veicolo di trasformazione: Teatro è un viaggio di cui non si conosce la meta
Metamorfosi del personaggio (il personaggio matura consapevolezza e coscienza).
Metamorfosi della scena (Una scena semplificata che si trasforma)
Metamorfosi dello spettacolo (spettacolo cambia forma negli anni) anche grazie all’apporto del pubblico (prove aperte)
Metamorfosi dell’artista (Tematica autobiografica che esposta aiuta a una terapia contro problematiche interiori).
TEATRO COME METAMORFOSI
