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THE RENZO VESCOVI LIBRARY Of particular importance is the creation of the “Renzo Vescovi Library”. Hundreds of volumes on western and eastern...
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theater, some of which very rare and never translated into Italian, owned by TTB founder Renzo Vescovi, are made available to students and researchers, thanks to the partnership with Università di Bergamo. This material can be consulted at the TTB and volumes can be retrieved in the Università di Bergamo mutimedia library catalogue. «It is a remarkable and original, one of a kind book collection […] that features bibliographic materials in their original language that cannot be found in conventional libraries. It has been made available for quite some time now to researchers, professors and students even if not only interested in theatrical studies but in the multidisciplinarity of subjects and scientific approaches that such collections are able to offer.» Prof.ssa AnnaMariaTestaverde - Università degli Studi di Bergamo.
LECTURES CUM DEMONSTRATION Contemporary theatre is not (anymore) just a performance. In this section you’ll find, from a trans-cultural point of view,...
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lectures cum demonstration on eastern dance-theatre and on working techniques developed by TTB:FIREWORKS: a performance-demonstration with a reflection on the art of acting: art and techniques in contemporary theatre.UNA ROSA BIANCA. I COLORI DELLA VOCE: a lecture com demonstration on TTB’s vocal techniques.IL LAVORO DELL’ATTORE TRA ORIENTE ED OCCIDENTE: ways and intersections: from the jester to the lyrical actor through the experience of outdoor theatre and Indian dance.KONARAK. LA PAGODA NERA: Orissi style classical indian dance-theatre.IL RAJA DI KOTTARAKKARA: Kathakali style classical indian dance-theatre.CANTI D`AMORE: Bharata Natyam style classical indian dance-theatre.
MASTERS AND TECHNIQUES Through the years different techniques and masters joined: after Eugenio Barba and Jerzy Grotowsky we started working with...
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the Colombaioni brothers on clowerie and acrobatics, singing with Giovanna Marini, voice with Gabriella Bartolomei, Indian dance with Kalamandalam John, Usha Raghavan, Aloka Panikar, Pei Yan Ling for the Beijing Opera, Made Djimat for Balinese dance and many more. Then we developed self-learning techniques for improvisation methods based on “pure dance” or on “tasks” for musical instruments and voice and for the use of stilts in street theatre, through which TTB bent the open space to a dramaturgic function: another mix of cultured and popular, high and low, and play “for everyone”.
DIVERSE DRAMATURGIES The outdoor performances and Festivals produced and organized by TTB sum up the interdisciplinarity that characterizes the...
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group’s work; the deriving stream of artistic density allowed it to present plays with different dramaturgies and the dislocation of the scene/audience/actors relationship. For TTB a simple need underlies the research for an outdoor performance: surprise. The first aim of a outdoor performance is to transform an ordinary reality into a different world for the audience, with impossible figures (for example walking on stilts). A space can be transformed by ornaments that twist its sense, or (even more effectively) through the actors’ “ambushes”, who appear and disappear from street corners, rooftops, from the end of a road, guiding and confusing the audience.Through the years TTB organized parades (Grande parata d`apertura, 1985), “a stazioni” moving performance (Albatri 1977, Alla luna 1981, Storie del giardino dei peri 1995, Corteo Manzoniano 2004-2005) "a pianta fissa e centrale" (Valse 1994, Amor mai non s’addorme-Storie di Montecchi e Capuleti 2009), outdoor programs (Arlecchino d’Oriente 2006, L’Aria infinita 1986).There are productions only or mainly characterized by “cordial parties” explicitly inspired by the spectacular model of the reception (Sogni vagabondi 1987, Con suoni e con canti 2005) and, on the other side, more dramatic plays (Sonja 1979, Alla luna 1984). The last production of the group, Amor mai non s’addorme. Storie di Montecchi e Capuleti, joins all those productions with a complex system of loans and “translations”. It’s a new reading of the popular Shakespearean myth of Romeo and Juliet, an epitomy of all the elements forming TTB’s poetics.
At the moment (fall of 2012) TTB is working on the production of a new outdoor performance.
IN THE WORLD’S STREETS Since 1976, when Albatri was first presented (it was the first example of Italian street theatre with a dramaturgy), TTB produced...
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seventeen outdoor plays brought to over forty countries: from the squares of Vienna and Mexico City, to the cliffs of New Delhi, form the skyscrapers in Houston and the streets of Lisbon to the Victoria Memorial in Calcutta and the new library in Alexandria, from the mountains in Trentino and the Sicilian villas to the gardens in Madrid and the Acropolis in Athens, from the districts of Beijing and the small villages in southern India to the favelas in Rio and the streets of Quito. Here’s some accounts and opinions on TTB’s outdoor plays.«From Europe to Latin America, TTB is a model for outdoor performances» Eugenio Barba “L’Eco di Bergamo” 2005«[...] In TTB’s street theatre there is everything that worried and satisfied theatre in the last thirty years. You can sense, not without a thrill, the lesson of great masters, from Jerzy Grotowsky to Peter Brook, from Tadzeus Kantor to Eugenio Barba and the oriental theatre, finally intended in the right way» “Il Resto del Carlino”“Teatro Tascabile di Bergamo is a Group specialized in street theatre and you can see that very well. [...] it’s a way to revisit or discover Shakespeare in an original way, a dream within a dream. [...] Getting rid of prejudices is the main lesson for the audience.» “La Segunda” Santiago, Chile
SEMINARS AND CONFERENCES SEMINARS Work meetings about the art of acting that basically aim to the knowledge and control of the body (-mind) as the main...
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expressive medium.THE NAMELESS ACTOR: topics: socializing games, general body technique, acrobatics, eastern dance-theatre technical elements, clowning technique, physical and vocal improvisation, formalization and montage techniques, unconventional places theatre techniques, introduction to the use of stilts and musical instruments for a performance.THE BODY-ORCHESTRA VOICE: laboratory on vocal techniques. The free voice, resonators, diction, improvisation and formalization, building of the text’s vocal melody.THE DANCING ACTOR: a laboratory on the art of acting between East and West. We offer our students an introduction to Indian dance through the exercise and the practice of the fundamental steps, the analysis and study of possible “translations” for the western actor.When the eastern masters from IXO - Istituto di Cultura Scenica Orientale are in Italy, TTB organizes intensive seminars open to whoever is interested in knowing directly the eastern stage culture.
CONFERENCES TTB organized conferences (sometimes integrated by videos or visual documents) on various topics:LA COPPA E LA GRAZIA: eastern theatre technique and poetry.LO SPAZIO DEL TEATRO: the evolution of the stage space and its dramaturgical relevance in contemporary theatre.
Festival TTB’s festivals delve into the tendencies and aesthetic-formal reasons that we feel close to our idea, open new...
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confrontation grounds with different poetics and scenic practices offering proposals often different and eccentric in approaching the scene, connected to the concrete artistic practice and at the same time to research and theoretical study. The theoretical-practical stages alternate with performances, that often are live experiments on urban space.The idea is to realize interdisciplinary festivals about performative arts like prose, figure theatre, dance, music, trying to get on the same bill highly cultural theatrical events (oriental theatre-dance shows and experiments, highly innovative productions, conferences and seminars) and more popular shows in which the audience has to do some “work”: cultural, inner, spiritual.
EVENTS ORGANIZED (1975 – 2012) TTB organized these events in the Bergamo province and other Italian areas:1975: Invito alla Festa - Una proposta teatrale per la...
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Val di Scalve1976: Invito alla Festa1977: Invito alla Festa – Atelier Internazionale sul teatro di Gruppo (promoted by the Institut International du Théâtre, a UNESCO division, in collaboration with Azienda Autonoma di Turismo di Bergamo) 28 August/6 September, 42 participating groups from 30 countries.1978: Invito alla Festa - Musica a teatro1979: Alle radici del teatro1980: Musica a teatro1981: Il Sapore della danza1982: La città in scena1983: Un Teatro per la città1984: Tre sonate al chiaro di luna1985: Alle frontiere del teatro - Verso un`antropologia della danza1985-2000: Sonavan... le vie dintorno - Festival Internazionale di teatro musica e danza (16edizioni)1998-2012: Il Teatro vivo - introduzione al teatro del ‘9002005, 2007-2009: Il Centro e la Circonferenza - Festival Internazionale di teatro musica e danza (4 edizioni)2010: Liber A Nos. I libri, il teatro, la città2009-2012: Per Amore o per ForzaWe also partially or completely organized or directed:1978: Festival Internazionale del Teatro in Piazza (S. Arcangelo di Romagna) 1979: Festival Internazionale del Teatro in Piazza (S. Arcangelo di Romagna) - L`Attore che danza (Como)1981: Festival Internazionale del Teatro in Piazza (S. Arcangelo di Romagna) - Le riserve del teatro (Lecco)1982: Festival Internazionale del Teatro in Piazza (S. Arcangelo di Romagna) - Oriente-Occidente (Rovereto) - I paesaggi del teatro (Piacenza)1983: Festival Internazionale di Madrid (Spagna) - Festival di Ajaccio (Francia) - Le Strade del teatro (Abruzzo)1984: Dolce e chiara è la notte (Brescia)1985: Chiare, fresche e dolci acque (Brescia)1987: Sonavan... le vie dintorno (Brescia) - Encuentro Internacional de Teatro Antropologico (Bahia Blanca - Argentina) - Reencuentro Ayacucho (Cuzco-Perù)1988: Sonavan... le vie dintorno (Brescia) - Festival Internazionale di Chieri (Chieri)1989: Sonavan... le vie dintorno (Brescia) - La Cultura del Teatro - Esperienze teatrali tra antropologia e ricerca (Mantova)1990: La Noche de los Reyes (Madrid-Spagna)1991-1995: Dolce e chiara è la notte (Como)1991: Un Teatro per tutte le stagioni (Chieti) - Masques et bergamasques (Bergamo)1992: Un Teatro per tutte le stagioni (Chieti) - Masques et bergamasques-il gioco delle maschere: Oriente e Occidente (Bergamo)1995: Il Mantello di Arlecchino (Riccione)1996 e 1998: Nei plenilunii sereni (Como)1997: The Discovery of India (Milano) - Il teatro vivo (Seriate, Bergamo)1999: Per le strade del mondo… (Lecco)2001: Quel ramo del lago… (Lecco)2002-2003: Odin Teatret a Bergamo2003: Ville en fête (Nyon-Svizzera) - Vinden Festival di Lemvig (Danimarca)2004: Corteo manzoniano (Lecco)2005: Corteo manzoniano (Lecco)
EVENTS The organization of events is part of TTB’s work since its beginning, as a necessary complement of our aesthetic-expressive...
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development. It’s the expression of a cultural policy, sort of a “secular arm” of artistic research: it’s about creating a network that’s alternative to the official one, find and identify a new audience, in order to create a working ecosystem and a reference community. In this field TTB’s work divides into two constants: one for the organization of events with particular regard to outdoor theatre, the other for theatrical culture activities such as stage, conferences, seminars.
TTB’S EXPERIENCE TTB lived this phase of contemporary theatre since its beginning (Bitef-Belgrade 1976) making it one of the central moments in...
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its research activity and stage practice. Our challenge has always been studying the possibilities of dramaturgy in open spaces carried out with the same care and resolution of indoor theatre, aware of the fact that the environment is a constitutive element of the performance.In street theatre “unsolved tradition” TTB’s work mixes “popular” forms and “high” festive events of renaissance and baroque plays, sacred theatre and the profane one in medieval carnivals, without forgetting the underground movement of open air plays that came back in the study and practice of the twentieth century vanguard. To that we owe the knowledge of theatre out of common places’ possibilities (and social necessity), refusing to identify the theatrical performance with the theatre building.
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