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ALESSANDRO BARICCO legge
NOVECENTO
presentato da TheCatcher
It was from a while that I was hatching this idea to try, once, to reading myself, in theaters, Novecento. After twenty years of staging, in every part of the world, with all styles, with artists completely different from each other, I thought that going back a little bit to the original voice of Novecento could be an interesting thing, for me and for the audience. A way to hear that music again with the sound I had imagined for her. So I set up this production, imagining an elegant, light, essential and exciting performance. I asked to Nicola Tescari to make me original music, from use recorded, not live. And then with Tommaso Arosio and Eleonora De Leo I looked for a layout - not really a set design and direction, but a layout just right for what I wanted to do: read. Not acting, not explaining, not becoming a character. Just read a text, that text of mine. I'm sure I'll do it differently every night, because I'm not an actor and I can't to imagine getting on a stage to doing something that I already know how it's going to end. So probably each time there will be a different color, a different duration, a different happiness. The only thing I have decided is that there will be an intermission. And that in principle I will do it indoors, no outdoor squares or theaters: reading is a fragile animal that needs recollection. A couple of years and then I'll stop. A dozen dates a year. No more than that. So maybe I can to make them all unforgettable. At least for me.
Alessandro Baricco
made by **Alessandro Baricco, Tommaso Arosio, Eleonora De Leo, Nicola Tescari **.
production design Marco Quartana
producer Arianna Bertolo
sales **Elastic **
TheCatcher´s Man Alessandro Mari
native Holden School
partnered by** Feltrinelli Editore**
Born to Turin, she trained at the Brera Academy of Fine Arts in Theatre Scenographer. Since 2012 she has worked in several theaters, including: Maggio Musicale Fiorentino, Teatro Massimo Palermo, Teatro Stabile di Bolzano, Teatro Stabile di Torino, Teatro Carlo Felice. In 2013 he began his collaboration with Francesco Micheli working to Haendel'sLa Semiramide, at the Theatre an der Wien at Kammeroper. Since 2014 he has been working as a stage assistant to Federica Parolini, working alongside her in several productions: Candide (2015, directed by F. Micheli), Norma, (2016, directed by U.Giacomazzi/L.Di Gangi), C_come vi piace_ (2016, directed by Leo Muscato), Trilogia Popolare (2018, directed by F. Micheli). He works alongside set designer Nicolas Bovey in Il Barbiere di Siviglia (2016, directed by F. Micheli) at Greek National Opera, a show co-produced by Teatro Comunale di Bologna. In 2017 he began his collaboration with the Ricci/Forte duo, following as assistant stage designer in Turandot directed by Stefano Ricci; the show, winner of the F. Abbiati award for best direction, was staged at the Macerata Opera Festival and is co-produced with the National Theater in Zagreb. The sets are by from Nicolas Bovey. In October 2017 he collaborated with Alessandro Baricco for the reading/performance Pacific Palisades, as part of the Romaeuropa Festival. Parallel to her theatrical activity, she works as assistant stage manager for two feature films: Press-Storie di False Verità directed by P. Bertino to. Isetta (2015), and _The Repairman _directed by Paolo Mitton (2013). In 2017 he signed his first feature film, Blood Bags directed by Emiliano Ranzani and photographed by Alessandro Mattiolo, a Grey Ladder production.
Alessandro Baricco is one of the most versatile contemporary writers in Italy. Known for his bestselling novels Castelli di rabbia (Premio Selezione Campiello and Prix Médicis Étranger in 1991), Oceano Mare (Premio Viareggio in 1993) and Seta (1996, translated into 16 languages), Baricco has also had a prolific career as a television host of cultural programs, as a playwright and essayist. His fourth essay The Barbarians (2006) addressed the relationship between writing and the digital cultural revolution. In his latest book The Game (2018), Baricco returned to this theme by broadening his reflection to the impact of the digital revolution on humanistic thought and culture in general. The book is an intellectual preface to the principles Baricco has applied to the Academy program of the Holden School from he founded in 1994 to Turin.