TSV-Teatro Nazionale Productions in the programming of the Cycle of Classical Shows for the next three years
On the 2024 billboard Electra by Serena Sinigaglia will be performed at the Teatro Olimpico on 15 and 16 October
This morning in the rooms of the Teatro Comunale of Vicenza the mayor of the City of Vicenza Giacomo Possamai, the president of Foundation of the Teatro Stabile del Veneto – National Theatre Giampiero Beltotto and the president of Municipal Theater Foundation Luca Trivellato have signed a convention which will bring TSV to the stage for the next three years Olympic Theatre. The agreement opens up a new collaboration between the artistic direction of Cycle of Classical Shows and that of the Stabile del Veneto in order to include it in the programming of the Vicenza autumn festival a classic show produced by the Stabile del Veneto.
A result, achieved with the support of the Veneto Region, which responds to the request of the regional law for culture to promote aggregation between subjects from the cultural world and which in doing so strengthens the proposal linked to classical theater in the region, making the most of with prestigious theatrical productions by the Stabile del Veneto, a national and international excellence such as the Cycle of Classical Shows.
“I particularly care about this common path which is based on an agreement between the Cycle of Classical Shows and the Teatro Stabile del Veneto, one of the most important production centers in the Region – states the Mayor Giacomo Possamai – . Our city is proud of its autonomy, its capabilities, of an important theater like the Teatro Olimpico and is open to collaborations with other entities in the Veneto as per the recent address of councilor Corazzari to promote a cultural network. We therefore start from a show to then develop a program designed over three years with close collaboration with the artistic directors of the Classics. I thank those who worked in favor of this agreement because I believe it is an element of wealth for our city and a little more pride for the Teatro Stabile which is doing important things”.
“This convention and programming of the cycle of classical shows further enhances the “system” of Venetian culture – commented the Councilor for Culture of the Veneto Region Cristiano Corazzari –. A collaboration that falls within the aims of the culture law with which we hope for aggregation, even temporary, between subjects in the world of culture, the construction of regional systems of institutes and places of culture and entertainment as well as a balanced distribution of the cultural offer in the territory .”
“With this agreement we will reunite a rift created years ago between our theater and Vicenza, I am therefore grateful to Mayor Possamai and his council for the support and trust shown – he declares Giampiero Beltotto, president of the Teatro Stabile del Veneto Foundation – National Theatre –. For a theater as rich in history, honors and beauty as the Olimpico, our agreement represents a small step, but it is a big step for the Teatro Veneto which is trying to establish itself in the national and international arena. Thanks to this new network, for three years we will bring a great production within the programming of the Cycle of Classical Shows. We make ourselves available to the territory and the great theater we want to create because we believe this three-year project can bring great benefits to everyone.”
“Great projects are never born by chance, they are always the result of sharing, of the ability to be a team to build meanings even beyond common sense. And the cultural project necessarily carries within itself the ability to open up to new gazes” he has declared Luca Trivellato, president of the Vicenza Municipal Theater Foundation.
For 2024, to enrich the 77th Cycle of Classical Shows at the Olimpico – which sees the artistic direction of Ermanna Montanari and Marco Martinelli – the 15 and 16 Octoberwill be Electra, the new TSV production directed by Serena Sinigaglia. Sinigaglia tackles Hofmannsthal’s text by involving two extraordinary interpreters such as Federica Rosellini in the title role, of Treviso origins, is currently in all Italian cinemas with Daniele Luchetti’s film Confidences alongside Elio Germano, thanks to whom she is obtaining unanimous praise for her extraordinary interpretation from audiences and critics, and Arianna Scommegna in that of Clytemnestra. Her direction starts from two assumptions: the first is the myth, the origin, or that immense work which is theOresteia of Aeschylus. The trilogy of the oldest of the three Greek tragedians was successfully staged around 458 BC and has come down to us, the only case, intact. The second is the historical period in which Hofmannsthal lived, the period between the end of the 1800s and the early 1900s, in Vienna. A true cultural revolution within all the arts and first of all the theatrical one. The beginnings of what would later become German Expressionism. In Aeschylus the figure of Electra is marginal and yet she has inspired, more than Antigone and Oedipus, a succession of revisitations and rewritings. We have theElectra of Sophocles, that of Euripides, that of Yourcenar, in short this figure, just traced by Aeschylus, bursts out as a protagonist in the subsequent story, to the point of even inspiring Freud who attributes to Electra the complex that will forever bear her name. Unlike Aeschylus, the Austrian poet’s extraordinary intuition is to have Electra die, a fact that neither the myth nor subsequent rewritings foresee. Revenge destroys those who harbor it, to the point that, even once accomplished, there is no satisfaction but only exhaustion, emptiness, death. The relationship that Elettra has with her murdered father is morbid, delusional, violent, ultimately useless. Yes, because if you don’t live to get revenge, what’s the point? The other relevant aspect of Hofmannsthal’s vision is the presence of a sort of chorus of servants who comment and negotiate, some for Electra, some for Clytemnestra. And here stands the extraordinary figure of Clytemnestra. Historically a woman who dared to choose to self-determine, to the point of committing murder. For the poet, a woman corroded by feelings of guilt, that she would like to forget, that she thinks it would be her right to forget about her, but that she can’t because she sees reflected in the dreams and in the glow of the eyes of her daughter she bears the weight of the action performed.
