In Milan the theater runs in Apecar

Last summer it had been a challenge in the city of closed theaters: to bring the show to courtyards, cloisters and streets with an agile “means of work”. This year Teatro Oscar tries again. It begins in music with the Clandestina Night Orchestra

If people don’t go to the theater, the actor goes to look for them in the streets and courtyards. And if once there was the chariot of charioteers, now in the city the means of work is the Apecar. This is how, last summer, with the theaters closed due to the pandemic and the entertainment workers on the pavement, the MotoTeatro del Teatro Oscar was born, the smallest stage that has ever toured in Milan. A theater as large as the cassone of an Apecar, which entered the cloisters of Sant’Eustorgio or the popular courtyards (but true: no gentrification) of via Porpora, and which this year will even enter the sacred quadriportico of Sant’Ambrogio: which will host the “VianDante” project for five dates, ideas and poetry to put “Dante to the test of life”.

A theater on three wheels. A provocation, almost a game: but the game is the most serious thing in the world, therefore it is a job. Other than joking. Although to give the gas, on the edge of irony, there was Giacomo Poretti, the artistic director of the company and founder of the Oscar Theater in its permanent headquarters in via Lattanzio, together with the writer Luca Doninelli and Gabriele Allevi. “The mobile theater has a long tradition, from Thespis’s chariot to medieval acrobats”, in fact Poretti said. Getting on a five-square-meter stage was also a gamble for the important actors who had been involved: “But those who act are fascinated and are happy to be able to regain that sense of freedom, almost anarchy, which on a conventional it is less on “. It had been, in the small and deliberately small of an independent theater, and in the still frightened void of a closed city (without the meritorious Franco Parenti), a great success. I live. Not artifact (“and they listen more carefully, probably because they are surprised by the context”).

So here it is again, the Apecar, ready to get back on the road, in various locations, from Monday 5 July to September. Certainly this year not in the pneumatic vacuum, on the contrary there are many entertainment initiatives, theater, music, to invite (and compete) the public. But it is precisely one of the reasons why the experiment of the theater that goes to people has a reason for being. “Because it is true that in a city like Milan, where even this pandemic situation not yet over has weighed heavily, there are theaters, with their proposal, or they will reopen”, says Luca Doninelli, “but unfortunately it is even more true that an audience for the theater in Milan, and I don’t know if it is very different in the rest of Italy, it no longer exists. There are two, three large institution theaters, each with its own spectators. Every time I go I find the audience of young people there, but from when I was young too: it is ‘the audience of the theater’. For young people, however, that place, that living thing does not exist. Going around with a traveling stage is also a way to go looking for it, a different audience “. This is also what Enrico Melozzi, the director of the Orchestra Notturna Clandestina, thinks when he says that there are practically no orchestras in Italy, and that is why he gathers musicians and takes them to play in different places. It will be him with his Orchestra, on Monday, in the company of Poretti, to open the summer dances of the Apecar, with a show that is called, not for nothing, “Miracle in Milan”.

The program is on the website www.oscar-desidera.it


  • Maurizio Crippa

  • “Maurizio Crippa, deputy director, was born in Milan on February 27 of swallows and spring. It was 1961. He grew up in Monza, his Heimat, but for more than twenty years he has been a proud metropolitan Milanese. He attended classical high school. and graduated in History of cinema, his first love. Then there are the loves of a lifetime: Inter, the mountains, Jannacci and Neil Young. He works in the Milan editorial office and deals with a bit of everything: politics, when he can of culture, when he wants to church. He is happy to have two great Popes, Francis and Benedict. He has not written books (“why write bad new books when there are still so many good old books to read?” taught by Sandro Fusina) He has been pursuing the dream of knowing how to use social media for some time, but then thank God he repents.

    He is responsible for the weekly page of the GranMilano sheet, writes Contro Mastro Ciliegia on the front page every day. He has a wife, Emilia, and two children, Giovanni and Francesco, who are no longer children “

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