Catalogue
English

Teatro La Fenice, ''I quatro rusteghi''

Venice

The laundry hung out to dry was stylized with cuts of GTR - Tarlatana semi-rigid gauze.Contrary to the audience in the hall, some of the critics did not appreciate Livermore's direction, reproaching him for considering Goldon's vision anachronistic and, considering it inapplicable to contemporary reality, for having treated the staging of Wolf-Ferrari's jewel with superficiality and disinterest.
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From a chat casually exchanged (before the debut) with the set designer Santi Centineo, who must have known Livermore's point of view well, however, a much more refined intention had emerged.The thesis was not the anachronism of Goldoni, today more vital than ever, but the pointing out how Venice, its history, customs and characters, including therefore those of The four rusteghi ...
... have suffered a deterioration to the contemporary eye due to the aggression of mass tourism, which has emptied them of their original meanings, downgrading them to the role of souvenirs.Emblematic in this regard would have been the final scene of the group photo, in which an enormous transparent bubble with snow turbines was supposed to fall on the characters, suppressed due to technical difficulties.
The layout for the Digital printing of the claudy sky underlines the subdivision of the image on the strips of the Digital printing rear-illuminated backdrop.
The scenographies by Santi Centineo used a big Digital printing rear-illuminated backdrop and numerous wings realized with the film for rear-projections RAR - Arizona.
The descent of the scenes that create the gallery of portraits and Venetian interiors where the action take place.The pictures of the exposure have been realized with some small Rear-projection screens made of RAR - Arizona.
An ironic allusion to the high water that periodically invades Venice, the stylized waves had been realized with the elastic fabric LEL - Perospan.The stage was often crossed by gangways, an allusion to the high water that more and more frequently torments the Venice of our days.
The movement of the mobile scenes was realized with the contribution of some rail systems Kompas.
I quatro rusteghi
Musical comedy in three acts
Music
Ermanno Wolf-Ferrari (1876-1948)
Libretto
Giuseppe Pizzolato
from Carlo Goldoni
First night
Munich, Königliches Hof-und Nationaltheater, 19/3/1906
Scenography
Santi Centineo
Costume design
Giusy Giustino
Technical drection
Bepi Morassi
Stage direction
Davide Livermore
Staging
Teatro La Fenice of Venice
Co-production
Teatro Massimo Bellini of Catania
Season
2005 / 2006

Materials used in this production

1K - Kompas

Track systems

ASC - Sceno

Muslin and canvas

BSU - Super Gobelin

Scrim and bobbinet fabrics

COS - Oscurante

Duvetyne and blackout fabrics

GTR - Tarlatana

Gauzes

LEL - Perospan

Elastic fabrics

RAR - Arizona

Rear-projection films

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