It is a symbolic centenary, the one that is celebrated this year at the Greek theater of Syracuse for the 56th season of classical performances of the Inda, the National Institute of Ancient Drama (from 3 July to 21 August). The centenary was celebrated in 2014, a century after the first cycle of shows, when the verses of the great tragic figures of antiquity echoed for the first time on the Temenìte hill in modern times. The one that falls in 2021 marks the hundred years since the resumption of the performances that from 1915 until 1920 were interrupted first by the Great War and then by the “Spanish flu” pandemic that plagued the world. After exactly a century, a new departure after the one-year hiatus caused by a new pandemic, a coincidence that almost makes you shiver.
To celebrate this rite of classical theater which is the most famous in Europe, the Inda announces not only the 2021 but also the 2022 season. This year two tragedies and a comedy. Davide Livermore returns to conduct “Coefore-Eumenidi” (co-production Inda-Teatro Nazionale di Genova), second and third chapter of Aeschylus’s “Orestea”. The director (who will sign his fourth consecutive Scala opening in Milan in December with “Macbeth”) had set up Euripides’s “Elena” in 2019 in an evocative “aquatic” scenography; this time at the center of the immense scene in Syracuse there will be a sun that has crashed on the Earth, breaking a bridge (“no reference to the Morandi bridge that collapsed in Genoa”, points out the director, annoyed by the interpretation of some advances), a symbol of the end of a system of power, of unjust justice, of violence that prevails over reason. It will be a staging that will anticipate, in ideas and signs, “Agamemnon”, the first act of “Orestea”, which Livermore will perform in Syracuse in 2022, one of the three tragedies on the bill next season.
The other titles of the 2021 cycle are Euripides’ “Bacchantes” directed by Carlus Padrissa, one of the founders of that pyrotechnic theater company that is the Catalan Fura dels Baus, which rewrote the language of the contemporary scene between brazen physicality and audience involvement. , and “Le Nuvole” by Aristophanes which will be directed by Antonio Calenda.
Among the cast names Laura Marinoni (Clitennestra), Anna Della Rosa (Elettra) for “Coefore-Eumenidi”; Lucia Lavia (Dioniso) and Linda Gennari (Agave) for “Baccanti”; Galatea Ranzi (Corifea) and Antonello Fassari (Socrate) for “Le Nuvole”. Actor-record holder in all three shows Stefano Santospago (Egisto in the first tragedy, Cadmus in the second and Aristophanes in the comedy).
In 2022, in addition to the aforementioned “Agamemnon” by Livermore, Euripides’s “Ifigenia in Tauride” will be staged under the direction of the “son of art” Jacopo Gassman and “Edipo Re” entrusted to the care of the Canadian Robert Carsen. «Artistic choices that confirm Syracuse – says the superintendent of Inda Antonio Calbi – laboratory of scenic experimentation through the tragics of antiquity and their texts».
The Temenìte cavea will not be able to fill up again (almost 6000 seats on the centuries-old steps of the theater) due to the restrictions due to Covid but the good news is that of the derogation granted to the Inda by the Sicilian Region which has led to 3000 spectators who they will be able to attend the shows every day (48 performances in total) compared to the 1000 foreseen by the national legislation for outdoor spaces.
At the press conference for the presentation also the Minister of Culture Dario Franceschini who hopes for the circulation in ancient Italian theaters for the shows created in Syracuse: “That of the so-called stone theaters is an important reality in our country, new lines must be dictated for the use of our historic arenas ». While Calbi works to consolidate the partnership with Rai while opening the doors to other digital platforms, not least ITsART.
The mayor of the capital of Arezzo, Francesco Italia, is satisfied: he remembers that the induced activity that the classical shows of Syracuse (important sponsors, from Erg to UniCredit) have created in the Sicilian economy touched 40 million in the last “normal” season (2019) euros, therefore a breath of fresh air also for his city. Finally, Calbi rejoices confident, in the post-Covid era, in the reconquest of a full sociality even through the scene. “The isolation from the pandemic has made us understand even better how central theater is, an experience of knowledge to be lived together – he says -. And doing it in the thousands at the Greek theater is the most beautiful and highest way to give back to the theater its role as a mirror of ourselves and a cure for our life. In the words of Battiato, I feel theater as a “cure” and in order for it to preserve this function of knowledge and catharsis, we too must “take care” of it ».
Last updated: Friday 4 June 2021, 22:41
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