Piccolo Theatre and "il Piccolo"

You may not know that your favorite Chicagoland Piccolo Theatre named itself after The Piccolo Theatre of Milan, or, as the Milanese call it, il Piccolo.  Back when our ensemble was forming, there was no question what our name would be. The Piccolo Ensemble did not simply hope to pattern ourselves after this venerable theatre.  Our love of Commedia dell'Arte and our intellectual approach to the art form seemed to to be rooted in the same traditions as il Piccolo.

Our ensemble was lucky enough to see them perform Servant of Two Masters in 2005 at Chicago Shakespeare Theatre. (With the famous Ferruccio Soleri as Truffaldino!)  And to top the evening off, we were able to meet the Teatro Piccolo actors at the post production party.  What a night!  Bella!

Ferruccio Soleri (il Piccolo), John and Jan Szostek (Piccolo Theatre)

What do you know about il Piccolo?  Unless you're really into Commedia or are in the habit of Googling unusual Italian theatres, probably not a ton, right? Just in case you're curious for a tidbit of Italian history, read on!

Piccolo was the first public resident theatre company in Italy. It was founded by Giorgio Strehler, Paolo Grassi and Nina Vichi, and inaugurated on 14^th May 1947 with Gorky's L'albergo dei Poveri (The Hotel for the Poor).

Lady with Ermine- Leonardao da Vinci

Its first location was in Via Rovello 2, in the old Broletto cinema in the 15^th century Carmagnola building. In this building lived Cecilia Gallerani who was Ludovico il Moro's lover and the who was the model for the ‘Lady with Ermine’ painted by da Vinci. This site was restored to improve the hall and the stage. The initial restoration project did not include the restoration of the cloister, but the discovery of some 1400s frescoes (attributed to Bramanteand da Vinci) led to the recuperation of this place too. The restoration works were completed in 2009.

The small dimensions of the hall and of the stage pushed Grassi and Strehler, during the 1960s and the 70s, to ask for a new site for the theatre. During the 80s, Strehler repeatedly resigned from his Art Director position, hoping that his protest would move the cranes that for years remained uselessly parked nearby the Sforzesco Castle. The New Piccolo Theatre was inaugurated only in 1998, a year after Strehler's death. (Chicago's Piccolo Theatre considers is extremely lucky to have a home in the Evanston Arts Depot, and that artistic director John Szostek embraces our small theatre instead of resigning out of protest.)

Today il Piccolo is comprised of three theatre spaces:

Teatro Strehler (new site)

   

Teatro Grassi (the historical base of Via Rovello)

Teatro Studio (mostly for experimental works)

 

Since its early beginnings the aim of il Piccolo has been to deliver drama to those categories of people (retirees, workers and students) who traditionally do not go to the theatre. In the Manifesto of the Piccolo we read:

This theatre (that is ours and yours), the first public City theatre in Italy, is promoted by the initiative of men of art and study, and is supported by the executive authority of those who are responsible for the city life. We do not believe that a theatre is what is left of mundane habits or an abstract tribute to culture. A theatre is the place where the community, meeting in order to contemplate and to re-live, reveals itself; it is the place where it tests a word, to accept it or to refuse it, and where that word, when accepted, becomes the centre of the city's activities and it suggests its rhythm.”
(translated from Italian by Claudia Zanella)

The repertoire of the Piccolo is both international and rooted into Italian tradition: Gorky, as previously mentioned, and Chekhov, but also Goldoni and Pirandello. Brecht has been performed since the late fifties and his theories on dramatic art deeply influenced Strehler. Other tremendously successful and popular works include: The Tempest by Shakespeare, The Thunderstorm by Strindberg but, most importantly, The Servant of Two Masters by Goldoni. This last piece was started to give Strehler some “rest” from his more philosophical works on the role of art, but proved itself to be the ideal play to provoke thoughts on dramatic art; it became very popular, and has been performed around the world for the last 70 years or so.

Thank you to Servant of Two Masters dramaturg, Claudia Zanella for the research and help with this post!   

Carlo Goldoni and Commedia dell'Arte

Carlo Goldoni

Carlo Goldoni's famous Servant of Two Masters was written in 1743 near the end of Commedia's golden age. This masterpiece obviously owes its success to the multitude of traditional and beloved Commedia elements he utilized: characters, situations, masks, etc., but the manner in how Servant is performed is slightly different than what was considered "Commedia" at the time in 1743.

Goldoni had conceived a new type of theatre, a new way of acting, and a new way of perceiving the role of the playwright. Up until this point, Commedia actors were used to creating plays themselves using a great deal of improvisation. The subject was chosen (usually love intrigues, clever ways of getting money and outsmarting simpletons), the characters conceived and named, their relations to one another determined, and the situations clearly outlined, all beforehand. The material was then divided into scenes and lazzi, and the situations were made clear. When this general outline was deemed satisfactory, the actors were then given the freedom to heighten, vary, and embellish their parts as their genius might suggest. But with the Servant of Two Masters script, Goldoni took the reins and wrote everything down in a script. Earth shaking? It was in at the time in Italy.

So what does that mean for Piccolo's performance of the piece? Will this "scripted" play make us LAUGH??? What about the hilarious, creative brand of Piccolo-style improvisation and general goofiness? Aaaaaaahhhhhhhh!!!!

Have no fear! Artistic Director John Szostek has already thought this through.

"There is a trap in attempting to present The Servant of Two Masters and that is how to allow the comic instincts of skilled actors to overcome a tendency to be a servant to the text. It has been said that commedia is the riskiest form of comedy. True, but worth the risk. When the moment of inspired improvisation happens it is like a lightning strike and time seems to be in suspension while a wonder takes place. Fortunately Goldoni’s text is so perfectly balanced and adhering to pure form that it allows us to perform under, through, over and behind the text." -John Szostek

See the show yourself (opens February 25!) and the Piccolo Ensemble will treat you to a Commedia experience that will make you wonder why this conversation about Goldoni's script seemed like such a big deal.

For some more info on Goldoni, you may enjoy this video fro our namesake and inspiration, Piccolo Teatro di Milano (particularly the section right around the 4:00 mark). English speakers, don't fear, the narrator speaks your language. Plus there is also some great material on everyone's favorite character, Arlecchino. Enjoy!

Arlecchino servitore di due padroni | Giorgio Strehler e Ferruccio Soleri

Thanks to our dramaturg, Claudia Zanna for her research and Artistic Director John Szostek for his quote!