AUBERVILLIERS, France – It has taken me a while, but I desperately wanted to get this report up here before the next Ajamola show tomorrow in Aubervilliers. In my previous post I wrote about the great day with TAC Teatro at the Théâtre du Soleil with the Odin Teatret company, followed by the showing of my film interview/roundtable with Eugenio Barba at the Espace Renaudie municipal theater in Aubervilliers. The following day the magic really started when TAC Teatro performed its first of a season of scheduled performances of Ajamola at that same Espace Renaudie. (Tomorrow the show returns to 164 rue Henri Barbusse, TAC’s regular digs.) Both the challenge and the rewards were great at the 180-seat municipal theater!
Ajamola was written and created by TAC Teatro for performing in a specific, non-traditional space: With spectators lining up on either side of the stage, and the play being performed in the middle of them. I’ve seen the play so many times that way that I had a hard time imagining that it would work as well in the traditional kind of theater space that it was necessary to use at the Espace Renaudie. That is to say, there is a stage – not a raised one, by the way – and in front of the stage sit the spectators.
TAC, of course, had to bring its own special brand of performance even to this space, so the show began – as it usually does – in the bar area of the theater – where yours truly served the drinks! – but in this case, the bar area was up a couple of flights of stairs from the performance area. This meant a whole re-thinking of how the initial “performance” begins. (Doing away with a shopping cart that usually features in this first part of the show.)
Ajamola at the Espace Renaudie 5
Pulled off perfectly, the new space even added another feeling to this first part of the show, something a little more special in this space where I suspect there has never been such a performance in the public area before.
Then the show moved to the auditorium, and there the actors also used the whole room, and not JUST the stage area. Still, there were few opportunities for climbing up amongst the audience, and most of the show did take place in front of the spectators on the stage. It was a revelation! I had mentioned in a previous post some time ago that with this play – that combines every human emotion, acrobatics, music, singing, text, shadow puppetry and other kinds of puppetry – I often had the feeling of watching something of Shakespearian proportions. In fact, because our modern experience of watching Shakespeare tends to be flat on, stage to audience, as at the Espace Renaudie, I felt that same sense even more!
Some of the characters came to life in a completely different way than in the usual manner the company uses to perform. And the lighting crew at the Espace Renaudie did a fabulous job – along with Ornella Bonventre, the play’s director – of bringing tones and textures to the show that I am not used to as well.
Ajamola at the Espace Renaudie 4
It was a really fabulous experience of rediscovery of a piece I know like the back of my hand, and all thanks to the changed performance space. But as Ornella always says, the space in which you perform is a partner in the show. And this illustrated it better than I could have imagined. It was also great that there were many more spectators present for the show than are even allowed in the space at 164 rue Henri Barbusse – creating another dimension again. Not only am I looking forward massively to the next performance of Ajamola at the Espace Renaudie on 10 January 2023, but I am also really looking forward to seeing it again tomorrow in its “traditional” environment at 164 rue Henri Barbusse.
Tickets for either show may – and must – be reserved at: firstname.lastname@example.org or at: 06 14 06 92 23
PARIS – I wanted to do two quick reports, one today, the other maybe tomorrow, just to round up the amazing week with TAC Teatro. It started last Monday with the long-awaited double header starting at 8AM at Paris’s legendary Théâtre du Soleil in the Cartoucherie with the equally legendary Odin Teatret, then Monday evening at the Espace Renaudie in Aubervilliers, where we screened my interview/documentary film with Eugenio Barba, the founder of Odin Teatret.
The morning event hinged around a couple of high moments: a conference given by Odin Teatret actor Julia Varley on the theme of the actor’s process of creation and training; which was followed by the actors of TAC Teatro performing excerpts from their latest show, Ajamola, for the spectators and for Eugenio Barba and Julia Varley.
Odin and TAC people at Theatre du Soleil
The conference was “prefaced” by introductions given by Ornella Bonventre, founding director of TAC Teatro, and by Raluca Mocan, a Romanian lecturer at a French university who is also a specialist on Odin Teatret. Varley’s conference was fabulous, starting with her echoing almost word-for-word what I’ve heard Ornella herself saying so often: As an actor she considers herself an artisan, not an artist. They build things – characters, plays, shows, etc., as an artisan might build a chair.
all Ajamola actors at Theatre du Soleil
Varley also spoke of the importance of the actual performance in unforgettable terms: Once you are on stage it is “not a democracy.” In other words, perhaps the actor can try all sorts of strange things during training and creation, but the performance is a dictator that requires the actors to follow the score laid out in advance and stay entirely inside the established character. I have certainly over-simplified that point, but that’s the rough idea.
After Varley’s grand performance as a lecturer, I felt a little worried about how the actors of TAC Teatro might be able to jump into their own characters from Ajamola and put on a convincing short excerpt from the show within confines that were far from anything even close to their usual performance space. As you can see from the video, it was a tight, obstructed space, where the actors did a fabulous job of reconstructing moments from the show – with Eugenio Barba, Julia Varley and others watching on. Ornella had planned this excerpt from the show as an homage to Odin Teatret, and there was every indication that it succeeded. Thanks to the actors, who did manage to get right into character and negotiate the space beautifully.
From the Théâtre du Soleil to the Espace Renaudie in Aubervilliers for the Screening of Eugenio Barba film
Eugenio Barba in film at Espace Renaudie
In the evening, we moved on for the second part of the Odin tribute to the municipal theatre in Aubervilliers called l’Espace Renaudie, for which TAC was supported by the municipality of Aubervilliers. Here we showed in public for the first time the TAC-produced film, an interview with Eugenio Barba, which is a film in which I have a half-hour long interview with Barba about his life and the Odin Teatret. I conducted the interview, Ornella filmed it, and I did the editing, splicing in all sort of documents, photos and films from Odin’s own archive, dating back to the 1960s.
It was a moment of great pride and wonder on my part to see the film on the big screen shown in front of a public in a 180-seat municipal theatre. Judging by the roundtable discussion that we then had following the film, it was a success. The roundtable was the chance to give all participants the floor to speak about the film, Odin and theatre in general. It went on for almost two hours.
Another Eugenio Barba in film at Espace Renaudie
I will return with the report soon of the production of Ajamola itself in this same theatre in Aubervilliers the next day – with photos and videos….
From Ornella in French: L’Odin jouera Thèbes jusqu’au 19, nous du TAC y allons le mardi 15, ceux qui veulent se joindre à nous sont les bienvenus (envoyez-moi un message). Toutes les informations ci-dessous.
AUBERVILLIERS, France – Just a very quick word to say you must listen to this radio interview of some of the members of TAC Teatro – including me, and me playing my songs live – and you must also, if you see this post between now and 8PM tonight, get out to see the show Ajamola. We are putting on the show for the first time in a municipal theater, that of Aubervilliers called L’Espace Renaudie, just outside Paris. There is still time to book your presence, if you call up the TAC number at: 0614069223 This is a big beautiful theater, and the show will be great to experience in this different environment!
It is in this same theater that last night my film about Eugenio Barba was screened for the first time, and I will come back to that in the coming days on this blog. Now I have to prepare for Ajamola.
But have a listen to this radio show that was aired in Aubervilliers last Friday (and I have been too busy with the film and other things to get a post up before now!) Here are direct links to the show itself, without passing through the radio station:
The interview with TAC was 15 minutes long, and all in French, done by Daniel Graisset at the AR.FM radio station:
After this he approached me while I was playing some songs at the TAC Teatro stand of this local Fête du Quartier, and I was making a mess of both songs – the first “Mad World,” the second “Borderline,” my on song, for which for the first time ever I forgot some lyrics!:
More to come about the incredible day of yesterday…
PARIS – I’m already bubbling over with excitement about the premiere of my short, 30-minute, documentary/interview film with one of the giants of world theater of the last 60 years. I am talking about the work I did with Ornella Bonventre and her TAC Teatro – of which I am a company member since 2017 – and our interview with Eugenio Barba, founding director of the Odin Teatret of Denmark. The film will be screened next month, on 7 November, in the Espace Renaudie, a municipal theater in Aubervilliers, a suburb of Paris. It is part of a double-bill of activities with members of the Odin Teatret and TAC, beginning in the morning at the iconic Théâtre du Soleil of Paris.
That’s a lot of stuff to pack into your brain in the first paragraph, so let me backtrack now a little: Eugenio Barba is an Italian-born director and writer who after working with the Polish theater master Jerzy Grotowski in the early 1960s, went on to create Odin Teatret – based in Holstebro, Denmark – and to become one of the great theater theorists of our times, as well as the founder of the International School of Theatre Anthropology. Odin has always been at the forefront of avant garde theater in the world, innovating in the area of what is often called “physical theater,” as it speaks as much, or more, through the movements of the body as it does through text. And even the spoken word itself – or the music – is considered a kind of physical action in the performance.
The company was founded in 1964, and some of the actors that still make up the company have been with it since the 1970s, others for several decades. They are coming to Paris next month to put on their latest show, “Thèbes au Temps de la Fièvre Jaune,” at the Théâtre du Soleil. (The latter is another of the world’s great avant-garde theatrical institutions, also founded in 1964 and still directed by Ariane Mnouchkine.)
The morning event with Julia Varley.
The Odin show will run there from 8 to 19 November, and TAC Teatro, in collaboration with ARTA, Association de Recherche de Tradition de l’Acteur, and the Aubervilliers mayor’s office organized two events that will take place the day before the show opens, ie, on the Monday 7th November at 10AM in the Théâtre du Soleil, and the film premiere at the Espace Renaudie starting at 18PM, with, following the film, a roundtable discussion. The event starts by featuring especially the intervention of Julia Varley, one of the Odin Teatret actors, who will give a conference about the process of training and creation for the actor in the morning part of the program at the Théâtre du Soleil. Ornella will take part in that too, along with Raluca Mocan, a theater expert and member of the Husserl Archives of the Ecole Normale Supérieure.
I am very pleased to be able to show this documentary interview film that I did with Eugenio Barba the last time Odin Teatret visited Paris, with their previous show, called, “L’Arbre.” The interview was conducted outside at the Cartoucherie, and Ornella filmed it – and organized it – and also intervened with some of the most interesting questions – when I think I took over the camera briefly! It was a wide-ranging interview with Barba covering his life story, his theories of theater, the history of theater and of Odin, and even comments about the state of Paris’s theater landscape in general. It also contains a lot of footage and photos of Odin’s work through the decades.
Brad Spurgeon interviewing Eugenio Barba.
Taking place at the Espace Renaudie in Aubervilliers starting at 18PM, the screening is free of charge, and there are about 200 seats in the theater. So if you want to come, best to reserve in advance at email@example.com or by telephone at: 06 14 06 92 23
By the way, this is the same location where the full production of AJAMOLA will be performed several times this year and next – so if you like what you see in the performance extracts at the event at the Théâtre du Soleil…don’t hesitate to book for the show too!
PARIS – Just a quick note, a thought, a loss and a regret. As if it wasn’t enough to learn of the death of Peter Brook in early July, yesterday brought the news of the death of Marcello Magni, one of Brook’s fetish actors. I am drawn to mention it on the blog because it was just over two and a half years ago that I did a post on this blog in which both featured: The Unique Vision of Peter Brook and Shakespeare’s Temptest Work-in-Progress at the Bouffes du Nord in Paris. The focus was on Brook, of course, so while I did speak about Marcello Magni’s wonderful contribution on stage, I did not mention the long talk we had after the show with the Italian, who died over the weekend at the age of 63.
Not only that night did Ornella and I see a great demonstration of work of Brook’s “Tempest” – with Magni playing Ariel – but after the show we said hello to – very briefly – Peter Brook, and then we met several of the actors in the theater’s lobby, and discussed theater with them. The one we found the most interesting, friendly, simple and engaging was Marcello Magni. We actually had no idea of quite who we were talking with, except that he was a brilliant Ariel, a regular Peter Brook actor, and that we had been impressed with his work onstage in the role, as well as during the demonstration of warm-up techniques for the actors that he showed the spectators.
In the simplest sort of matter-of-fact conversation we might have with anyone, we spoke about the life of an actor in Paris, Italy, the UK, etc., as he and Ornella as two Italian theater people living out of Italy might do. He told us he had been in the UK for some 40 years, but before that he had studied in Paris with Jacques Lecoq, etc. It sounded like any aspiring actor Ornella might meet looking for a first job in TAC Teatro – although he was certainly not looking for work!
Only later did we find his history working with Peter Brook and the many roles in theater he had been involved in, and his co-founding of the Complicité theater company, etc. A real pillar of the the theater world on the level of the working actor…. Not a master innovating director like Brook himself, of course. But an extraordinarily talented and heavily occupied actor involved in many different areas – including some interesting television and film roles.
We left our little meeting feeling, nevertheless, as if we had opened a door to meeting someone whom we could relate to and who shared, above all, Ornella’s conception of what theater and the life in the theater is all about. (My own involvement being very limited.) As this meeting had happened just as the Covid pandemic was beginning to take hold – in fact, a few weeks later Ornella would have to cancel TAC Teatro’s own “demonstration of work” on the show it is now putting on – Ajamola – and any dreams we might have had of continuing to attend Peter Brook shows at the Bouffes du Nord, or trying to make contact with any actors linked with any other theater companies, like Complicité, had all to be put on hold.
That is why, now, after a little more than two years of near hibernation due to the pandemic – two years of putting many things on hold – that momentary meeting and feeling of hope in the way of great shows and theater-moments-to-come through the world of Peter Brook or Marcello Magni feels so suddenly, abruptly and cruelly at an end. There they were just yesterday in our minds and standing before us, and now, a little more than two and a half years later (but years that barely existed due to Covid) and both are gone. It feels a half century of history and lifestyle – theaterstyle? – has departed with them.
That is the reason I felt compelled to write this blog entry today: DO NOT WAIT! Do not put off until tomorrow what wonderful thing you want to do. All the clichés about life being too short are true, and that is why they are there: Within the blink of an eye all we know and dream of doing will go, disappear with the passage of time. While we already knew that Peter Brook, on the verge of his 95th birthday at that time (he died at 97), was not likely going to be around that much longer, we could not imagine for a moment that the seemingly healthy and full-of-life Marcello Magni would be gone so soon. We must all live as if none of us has a moment to spare.
CASTELLAMMARE DEL GOLFO, Sicily – There are few things I dislike more in life than getting out of bed for the day at 4:40 AM. Especially after going to bed at 1:40 AM (due to the birthday party of a 1-year-old). But the offer to join up with an Italian theater company to put on a ritual performance along with the rising of the sun above the Mediterranean Sea on the top of a World War II bunker overlooking some craggy cliffs at the Fossa Dello Stinco near Castellammare del Golfo in Sicily was just too great to resist. It was the same for Ornella Bonventre, and so it was that we joined Giovanni Berretta and his Compagnia Ordinesparso at sunrise and integrated his troupe for a 40-minute or so piece of physical theater, with a live soundtrack of drums and baritone saxophone. And while I may still be “jet-lagged” from the experience a day later as I write these words, I feel blessed to have been able to take part.
The whole thing did not happen just overnight, of course. (No pun intended.) Rather, Ornella, as the director of TAC Teatro, and a native of Castellammare del Golfo, had learned from her friend, a local filmmaker and photographer, Claudio Colomba, that Berretta was in town and doing a theater lab and a few performances. Ornella had also crossed paths with Berretta and his Compagnia Ordinesparso a few times in the past, so last week we went to watch one of their street performances, in one of the main boulevards of Castellammare. That took place during the heat of the night, with a couple of actors on a balcony above the boulevard, and the others in the street below, and it was quite impressive to see and hear.
We spoke to Berretta afterwards, and he invited us to take part in this performance on the morning of the day leading to the midnight celebration of Ferragosto, the Assumption of Mary religious holiday. If we accepted, we would have to go to one day of the workshop, the day before, the write a score to integrate the performance. This we did with great pleasure on Saturday evening, and it was my first time on the small, but fabulous stage of the main local theater, the Apollo, which is located in the center of Castellammare.
There, much to my great fear of failure due to a horrendous tendonitis in my left arm, Giovanni simply ignored my plea that I was entirely incapable of any kind of physical stuff and would be better off just playing my guitar and singing. But with the help of my hugely gifted partner, Ornella Bonventre, taking the heavier load of responsibility for the movements – despite doctor’s orders against straining her recuperating knee injury – we managed, through Giovanni’s gentle and precise direction, to come up with a score and integrate the group.
The group was made up of actors part of Compagnia Ordinesparso, as well as a few local amateurs who joined in as a theater activity, upon invitation by the event, which has some support from the local mayor’s office. Giovanni provided both the direction, as well as being the anchor of the performance, reciting texts to the sound of the musicians’ soundtrack. It was very impressive hearing the baritone sax, played by Tommaso Miranda, and drums, played by Domenico Sabella, at dawn; and the sound reminded me of a cross between the mix of Duke Ellington and John Coltrane as a duo, and some of the later work of Tom Waits!
There was a third major partner here that I have not mentioned yet, but they came in during the final stage, which was the performance itself at just after 6 AM. This was the group of about 50 hikers who were led by the local exploring association called, CAI Castellammare del Golfo. (The letters stand for: Club Alpino Italiano. They explore local mountains, caves, seashore, forests etc.) Ornella and I and TAC Teatro had put on a performance last year with and for this same hiking organization, but then it was to celebrate the setting sun! (Which is much more naturally to my taste, as a late riser.)
So it was that arising at 4:40 AM, we prepared ourselves and met the other actors and musicians at 5:15 close to the staging point, before heading on in several cars through the scrub vegetation at the seaside, and arrived at about 5:45 at the World War II bunker at the Fossa Dello Stinco. There the musicians set up the drums, took out the sax, warmed up; and so did the actors and Giovanni. We found our points of reference, spent some time figuring out how to mount the bunker – no easy thing, and in the end Giovanni himself lifted most of us up there – and we all warmed up too.
We took our positions and waited until close to 6:15 or so – the sunrise was set for 6:20, according to my phone – the spectators began to arrive and placed themselves on the stones, rocks and vegetation around the performance area. And then began Giovanni’s recitations, the other actors’ movements, dance and contortions, and finally Ornella and I mounted the top of the bunker and did our part.
The patient and talented director Giovanni had instructed me that my movements were to be a kind of action that reacted to Ornella’s movements, and her movements were that of the wind. Standing atop the bunker with the real wind gently blowing all around me, with a camera equipped drone hovering above, and with Claudio moving about in his various positions filming and photographing, with the saxophone and drums beating, and the sun rising mostly over my left shoulder as I looked at the rising hills and cliffs around me, the whole thing was a little bit like a natural religious experience and I had entirely forgotten the tendonitis in my left arm and shoulder!
Only once it was finished did I realise that I knew several people in the audience both from last year’s event with TAC Teatro and from the organizers of the hike. It was a gentle and warm descent. (Although suddenly feared my shoulder pain as Giovanni had to lift me down the bunker back to hard earth!)
My only regret during the experience was my inability to really be seeing all the details of how Ornella’s spectacular dance, as well as that of the other actors, must have appeared to the audience. I was part of the show, but with Ornella as my solid underpinning guide, it was a shoe-in there too…. Oh, and I am hoping that I will be able to see what Claudio eventually does with the film of the event, and I hope I will be able to put up a link to that on the blog soon!
Asnières-sur-Seine, France – Now, if that headline is not an exaggeration, I don’t know what is. But at the same time, I had many roles to play yesterday in TAC Teatro’s year-end celebration of theater in Asnières-sur-Seine, outside Paris. I wanted to stamp this down here on the blog for several reasons: one is that I wanted to explain why there have been so few posts of late, the other is to celebrate yesterday’s achievements and fun, and finally, to get back in the groove of posting, period!
I do hope that readers of this blog have been missing my posts as much as I have missed posting them. But I have been working like hell on several projects that have perturbed all of this: Most of my time has been involved in working on another book, which is supposed to be published by the end of the year; as well as working for the last two months writing in a temporary, limited-time gig for the United Nations. Someday I might go further into that, but not now.
The point is, I have been occupied so full-time that I have barely had moments in the day to pick up my guitar, let alone to attend open mics. But one thing was certain: I had to help out Ornella Bonventre and TAC Teatro at the latest year-end gig at the Petit Theatre in the building of the Théâtre Armande Béjart in Asnières-sur-Seine. This year I had not one, but three roles to play.
As with last year, I MC’d the show with my ventriloquial figure, Peter McCabe. Unlike last year, someone captured some photos of these bits. So I am happy to have those to show on the blog. Unlike last year, I also played a role in one of the plays…or rather, in a way, two of the plays….
Brad as Chasuble with Ornella Bonventre and some of the children of TAC Teatro
I played Chasuble in “The Importance of Being Earnest,” by Oscar Wilde, but in the French translation. That was tough! Or rather, I would have preferred to do it in English, but I had a great time playing the character! I felt a touch of destiny as my great, great, or maybe even another great, uncle, was a famous preacher, a precursor to Billy Graham, named Charles Haddon Spurgeon. Of course, Chasuble is not exactly a flattering representative of the profession.
In the end, we did not perform the whole play, but just excerpts. I did this with the adult members of the TAC acting courses.
Peter McCabe, through me somehow, had been selected by the adolescent students to be the central figure – yes, good choice of words – in the play that they wrote themselves, called, “Ce N’est pas une Comédie Romantique.” I thought that was a brilliant title, and I am sure it will be stolen! The English translation is, of course, simple: “This is not a romantic comedy.”
Peter McCabe on stage in the ados show at TAC Teatro
Peter appeared alone in this show, although I had to wear Chasuble’s hat to cover myself and sit behind the chairs where sat Peter most of the time in order for me to whisper to him his lines, as he did not do the slightest effort towards memorisation.
It was a fabulously successful evening, with more than 160 people present. And Ornella, who deserves every bit of praise for her success for this event, was also praised by the unexpected appearance of the deputy mayor of Asnières who showed up to launch the event. This was a fine moment of confirmation of all of Ornella’s work, as this deputy mayor was none other than Marie-Do Aeschlimann, the wife of the mayor, Manuel Aeschlimann, and herself in charge of childhood and education in the town. Only the week before this, she had run in the second round of the legislative elections.
Brad and Peter with some Audience at TAC performance
From all we heard and saw, the day was a great success, and I look forward to participating again next year! With Peter, of course.
And I do hope to have some news soon from the open mics, and particularly from the success encountered by at least a couple of the bands or performers I met through my period of playing in the open mics around the world. There are a couple of recent success stories that I have been planning to write about for months, but keep getting side-tracked by the other work mentioned at the start of this post.
AUBERVILLIERS, France – When Ornella Bonventre and the actors of her TAC Teatro company began the creation of their new show in the fall of 2019, they had no idea what disasters – both human-made and natural – were about to befall the world. And yet, as if predicting the future, themes of the coming cataclysms began immediately to define the show: A look at the lives of refugees, a question about what happens when your life changes forever in one sudden fell-swoop, and even, the arrival in February of the costumes of the “dream constructors” of the show in the form of doctors’ white blouses. And with the white blouses, surgical masks. Everyone joked about what they might be able to do with surgical masks. Within months, of course, and then within years, we have been hit hard in our world by many of the themes of the show.
After putting on several performances of the show last fall, TAC Teatro took a break from performance after one of the actors left, and the show has now returned with a new actor – Oscar Paille – and several new and changed and developed moments of pure delight. Every time I see this show – and I have now seen it at least 10 times live – I feel like I am watching a play of Shakespearian dimensions. Not the tragedies, more something like “The Tempest” or “A Midsummer Night’s Dream.” And fabulously, while Shakespeare is all about the text, “Ajamola” is all about the actions…and yet the text that there is excels in many spots with a beauty that touches me every time, especially that soliloquy that begins: “Goutte qui tombe sur le rebord de la fenêtre, pourrait-tu faire moins de bruit; il y a ici des gens qui ont besoin de dormir. Pas nous…” (Translation: “Drop that falls on the windowsill, could you make less noise; there are people here who need to sleep. Not us….”)
I must confess, of course, that I was involved in the beginning as both an actor and a writer of some small part of the text – not that above quoted line that comes from Ornella – but the play was ultimately a work containing contributions by all of the actors. And that is what it remains. A physical theatre show written through what the French call “écriture de plateau,” along with a very hefty and healthy job of direction by Ornella. (I dropped out of any involvement long ago, but I have attended all the performances.)
I am writing this blog item now simply to announce that the piece is back on stage, and set to run every Thursday night between now and the end of June – French school holidays excepted – at 9PM. And you should reserve in advance before going.
I am also writing this because I wanted to post some of the photos I took at the performance last week, as well as the teaser that I made for the show. Hope to see lots of readers of this blog present! It’s an experience not to be forgotten!
PS: Only now in finishing this post do I see that my last post was also about “Ajamola!” SHAME on me. I hope soon to be bringing more news, diversity in posts, and updating my open mic guides! For a full description of “Ajamola” read the bottom of the previous post!!!
CASTELLAMMARE DEL GOLFO, Sicily – “That’s not Italy!” Such was the idea behind a message a Facebook friend wrote when six days ago I posted a brief dream moment that I captured in a video when Ornella and I found ourselves in the back streets of this Sicilian town, hearing loud Italian music coming from a window while church bells rang simultaneously. Not Italy, perhaps. But not Sicily? A few days later, we encountered a traditional parade through the marina area of the town, and Ornella told me that it was the kind of thing she had so many fond memories of in her childhood here. So, was that not Sicily?
I know what my Facebook friend meant: It’s a little like those American novels set in Paris in which the French are all about wearing beret hats and eating baguettes and they are “oh so quaint, oh so silly.” But sometimes the clichés and real life come together. Castellammare del Golfo, Yesterday & Today
There was an exhibit of his handwritten manuscripts and letters on the walls, and his old camera is still there, and the owner of the bar decided during the lockdown this year to publish a new edition of his collected poems called, Timpesti e Carmarii, which first appeared in print in 1938, when the poet was 46 years old.
The parade that I show in the video, by the way, was part of a huge celebration of an evening in the presence of the famous Italian fashion designers, Dolce & Gabbana, who were in the town to show the film about them called, “Devotion.” (Dolce was born outside nearby Palermo.) The film was made by Giuseppe Tornatore, who is a famous Italian director, who filmed, notably, “Nuoco Cinema Paradiso,” and as he also has had a long association with Ennio Morricone – who died recently – Morricone composed the music for the film.
Tornatore’s was a fabulous film, by the way, although it was also clearly designed as an advertisement for the fashion house. For me, best of all, it was a great excuse to bring the past back to the presence in the form of the parade. There was a fabulous moment during the parade – which I put in the video – in which the performers sing a popular song from here, called, “Si maritau Rosa.” This will strike home very strongly with the actors of TAC Teatro (of whom I am one) as it is a song that we are singing in the new show, and which none of us knew anything about. It was, of course, Ornella’s idea.
But in any case, there it was, the past in the present. The folklore moment of ritual, bright colours, dance and music that may not be Sicily in many peoples’ minds, but it certainly was Sicily last weekend! I’ve edited part of the video in old looking black and white to show that the images we see of the town and the parade look like something we imagine having seen in the past, no more relevant to today…but then the color comes and it looks very much like today…as the past would have no doubt to our eyes had we been there…!
Emma Dante, left, and Ornella Bonventre at the panel discussion
CASTELLAMMARE DEL GOLFO, Sicily – A discussion about the vicissitudes of modern theater and the theater as a social action, taking place under the scorching sun of Sicily amongst the trees and vegetation of the small Fraginesi artists’ retreat outside this town was the moment I had in mind when I earlier spoke of the TrinArt association while writing about the turtle event last week. The panel took place on Wednesday, and opened my eyes to yet another cultural aspect of life in Sicily.
Some of the spectators in the round at the panel
I attended because Ornella Bonventre, representing TAC Teatro, was invited to speak on the panel, as she fit in perfectly as a director and actress who comes from Castellammare del Golfo originally – actually, she was born in nearby Erice – and now also has copious experience of theater also in Milan, Paris and elsewhere. The panel also featured the illustrious Emma Dante, who is based in nearby Palermo, but is also internationally known, having worked regularly in places as far apart as Paris, Edinburgh, the United States – where her play “The Sisters Macaluso,” was staged in 2017 – and many other places. Also on the panel were Laura Castelli, an actress from Milan, a couple of actresses from the Palermo-based company, Barba à Papa Teatro, and Maria Tesè, the deputy in charge of culture for the mayor of Castellammare del Golfo.
The event was attended by a healthy sized audience of perhaps 25 people – given the relatively remote location of the retreat – and among those in attendance was Nicola Rizzo, the mayor of Castellammare del Golfo.
Video: Ornella Bonventre talking about theater and society at the panel session in Castellammare del Golfo, Sicily
How fabulous to find such cultural energy amongst the rugged, parched landscape, and to contrast it in the mind with the works these people normally do in theater spaces. TrinArt is an artistic association founded by Simona Nasta, a Sicilian artist, but which is not only about art but also about taking in and harbouring refugees and other people with social problems at the retreat.
Opening words of Ornella Bonventre’s article on Rodari
Perhaps that is where the social theme of the theater came into it. In any case, given the crisis that theater has been going through since the beginning of coronavirus, it was also not surprising that a lot of the discussion revolved around the problems that theater is facing today due to the virus. But there were also discussions about the general health of the modern theater itself, and what attracts people – or not – to the theater today. Ornella gave an inspiring talk about how theater is and always has been a social tool, a tool for social transformation. I won’t go into the details of what she said, because I told her I thought she had the basis for her next article for publication. (Ornella’s latest article appeared a couple of weeks ago in the Italian education industry magazine called Pedagogika, and it is a wonderful piece about the popular writer and educator, Gianni Rodari, in a special issue of the magazine celebrating the centenary of his birth.)
In any case, it was a great pleasure to attend in this panel discussion, and I look forward to reporting about further such cultural activities from this summer in Sicily….