Milan celebrates Strehler, the inventor of modern direction

Milan celebrates Strehler, the inventor of modern direction
Milan celebrates Strehler, the inventor of modern direction

In the 100th anniversary of the birth of Giorgio Strehler, the inventor of modern directing, the two Milanese stages to which he offered genius and passion in opera and prose joined in celebrating his legacy, European thrust, teaching: La Scala and the Piccolo Teatro with an exhibition project in different locations entitled ‘Strehler and the Milanese stages’ presented this morning in the reduced boxes of Piermarini by the Superintendent Dominique Meyer, the Director of the Piccolo Claudio Longhi, the councilor Tommaso Sacchi and Piergaetano Marchetti President of the Corriere della Sera Foundation; could not miss the muse and wife of the director Andrea Jonasson. Ê an authentic invitation to the city to relive emotions, passions, intelligence of representations, identification with the characters; a few figures are enough to explain the emotion in the audience: from 1947, the year of his debut to 2012, he set up 35 regias for 33 different titles at La Scala; also in ’47 he founded with Paolo Grassi the PiccoloTeatro ‘small, for the intelligent’ with as many shows, some of which are now re-proposed in 5 ‘islands’ in the foyer of the Strehler Theater: from Brecht’s Anima buona dì Sezuan’, to the ‘enchanting’ Cherry Garden ‘by Chekhov, then Pirandello, Genet and the unfinished’ So fan all ‘. The Grassi Theater recalls the discovery of the vocation, the inauguration of the Piccolo and ‘the Harlequin servant of two masters’ of Goldoni, revived for decades. A special focus is for Brecht: ‘the threepenny opera’ and the ‘Galileo’ the spectacle that bewitched the whole city.

(c) Masiar Pasquali

The celebrations at La Scala were important, where the Superintendent, who has always been an inveterate fan of Strehler, said he was ‘happy to celebrate Giorgio in the city that he made grow with love, competence, precision’ and remembers that the theater has recently rearranged the historic ‘Marriage of Figaro’ by Mozart with scenes by Frigerio and costumes by Vera Squarciapino, conductor Daniel Harding.

There are two Scala initiatives: a virtual one, ‘The breath of the true poetic’, the magical journey through the performances of Strehler at La Scala, curated by Franco Pulcini with the voices of Andrea Jonasson and the well-known baritone, director actor Luca Micheletti, which can be visited at the link https : //www.teatroallascala.org/includes/giorgio-strehler-alla-scala/index.htm

Central is the homage ‘Strehler, gesture and space’, curated with passion and competence by Vittoria Crespi Morbio at the Theater Museum and in the Ridotto dei palchi (until 30 April). A path that starts from the idea of ​​the stage space that Strehler transforms and renews also thanks to the relationships with the scenographers. Delightful sketches by authors like the surrealist painter Leonor Fini for ‘Il credulo’ by Cimarosa in 1952 or by Giulio Coltellacci for ‘Il Cordovano’ 1949 and others by Gianni Ratti to testify the aesthetic research of the ‘beautiful scene’, then the revolution with Luciano Damiani and Ezio Frigerio towards the scene as an abstract or remote place, with photos, costumes, scenic reconstructions, here ‘the Simon Bocanegra’ directed by Abbado records a remote, mythical and at the same time real vision of Frigerio, but the ‘Macbeth’ curated by Damiani is an absolute masterpiece of director-scenographer cohesion, the inimitable representation of the forest. The rooms of the Museum retrace the two faces of Strehler’s soul and the antithetical breath of his theater. Vittoria Crespi Morbio explains that she remembers having witnessed the rehearsals as a child when the director came in imperious, overbearing ‘he was a reverential presence, and immediately a magic was created, a total symbiosis of direction and scenes, they gave all of themselves; pity it was a meteor that revolutionized the world of directing, it opened a new path, but it was inimitable, without disciples, just look at the ‘Macbeth’ with Damiani, a show made of large canvases and copper, of incredible suggestion ‘. Excellent catalog with photos by Francesco Maria Colombo. A journey or rather a triumph of Milan that he contributed to intellectually enlarge and which remains an example for young people.

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