Among the special highlights of the 60th Pesaro International Film Festival, the world premiere of L’Isola del Teatro, the docufilm that tells the story of Inteatro Festival, was screened yesterday. Production, story and screenplay are by Velia Papa, the direction is shared with Eleonora Diana.
Velia Papa, the Theater Island is a journey that retraces over 40 years of history of contemporary theater and dance, but not only
«We weren’t able to cover all 40 years, unfortunately. There are years in which they were not used and there were not even the right technologies to be able to “save” some of the crucial moments, but I am happy to have been able to find them again, thanks also to the help of the Rai archives which had carried out interviews and entire broadcasts dedicated, an immense material.”
Historic and precious material?
«It is very precious and curious material, but the novelty of this docufilm is that there is no narrative voice, also because it could have just been me, but I preferred to avoid this form of protagonism. I always think that things have to speak. And we were lucky because we have excellent interviews that describe the festival much better than me: from Romeo Castellucci to Wim Vandekeybus, Francesca Lattuada, Adriana Borriello, Corsetti, Martone. Some from the time, but also new ones, like the one to Jan Fabre.”
Were those times when the only two international theater festivals were in Sant’Arcangelo and Polverigi?
«Sant’Arcangelo started first, but dedicated the first editions to street theatre, then with the direction of Antonio Attisani and others, it became what it is today. Polverigi, however, was the point of reference for a form of image theater that contrasted with the so-called third theater. We never really took sides, but the characteristic of Inteatro was a new reaction to what happens: enlightening artistic choices that sometimes preceded what would then develop.”
A bit like this year?
«This year there is a lot of work on Artificial Intelligence, on the contrast between human and non-human, which also takes the form of an operation, perhaps not too theatrical, which is that of a video game played in a theater and managed as a show theatrical, exclusively in Italy. An incredible operation, a story of revolt that touches on many themes, which the public moves as protagonists using the Joystick.”
So the documentary film also dialogues with the festival?
«In recent years I have carried out several operations that investigate scenic formats, even during the pandemic. I think that Intetatro must continue to show elements that can then become common methods in the future, as research festivals should do, with artists who have a different approach than usual.”
The collaboration born with Nuovo Cinema is interesting…
«The invitation was very welcome and it is something that characterizes the creativity of our region: the meeting between two events that have stood out for their excellence seems very pertinent to me and I thank the organizers for having had this intuition».
How did the skimming of 40 years of festival happen and how can you not give in to nostalgia?
«I am happy to have worked with Eleonora because the difference in gaze was essential, as well as a technical skill that I am learning as a director. The younger generations have more of a nostalgia effect, more sentimental I would say. Mine is the usual approach, that of looking forward.”
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