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La Regìa Lirica, Livello Contemporaneo Della Regìa Teatrale

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La Regìa Lirica, Livello Contemporaneo Della Regìa Teatrale View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Il Castello di Elsinore (E-Journal) La regìa lirica, livello contemporaneo saggi della regìa teatrale Gerardo Guccini Dal “repertorio” al “festival permanente” Il radicamento sistemico della regìa lirica è stato storicamente favorito da una tra- sformazione organizzativa e istituzionale affatto indipendente dai percorsi e dalle saggi poetiche dei singoli artisti teatrali. Mi riferisco all’adeguamento delle programma- 83 zioni liriche al modello del festival che ha affidato la responsabilità degli allestimen- ti operistici a registi del teatro di prosa e cinematografici, a coreografi e a maestri dell’innovazione, comportando, così, l’innalzamento del livello visuale, l’affina- mento di quello recitativo, la mobilitazione delle risorse tecnologiche e una gran- de varietà di scelte stilistiche. Mentre il teatro lirico di repertorio, ancora vitale ne- gli anni Cinquanta del secolo passato, prevedeva – numerose rappresentazioni per ciascuna opera, – numerose opere rappresentate, – una stagione concepita secondo il metodo dell’alternanza, – una compagnia stabile di cantanti, – allestimenti poco sofisticati e rinnovati solo di rado, la programmazioni riformulate secondo il modello del festival richiedono – numero limitato di rappresentazioni, – numero limitato di opere, date in lingua originale, – stagione concepita secondo il principio della serie e non più dell’alternanza, 83-104 pp. – star del canto scritturate per una singola parte, • 62 – regìe elaborate e frequentemente rinnovate1. • 1. Le premesse e gli effetti dell’adeguamento delle stagioni liriche al modello del festival sono esa- minati in X. Dupuis, Analyse économique de la production lyrique, Cahier du LES, Université de Paris I Panthéon - Sorbonne, Paris 1979. Per un’esposizione sintetica di questa ampia ricerca cfr. Id., Il tea- tro lirico: storia di un infernale percorso economico, in “Economia della Cultura”, a. II, 2, 1992, pp. 40- Il castello di Elsinore Il castello di Elsinore La regìa lirica, livello contemporaneo della regìa teatrale Le regìe liriche sporgono, dunque, da dinamiche processuali estranee ai rivolgi- menti e alle pulsioni del mondo teatrale e in gran parte gestite da ruoli manageriali e direttivi2. Esemplare, al proposito, la carriera di Rudolf Bing che, dopo aver crea- to i festival di Edimburgo e di Glyndebourne, viene nominato dirigente del Metro- politan di New York nel 1942 e vi resta per 23 anni, approntando cambiamenti radi- cali come il rinnovamento della sala, la valorizzazione degli allestimenti, l’aumento delle prove3. Scelte che anticipano d’un decennio le trasformazioni dei teatri euro- pei, indicando la strada d’uno svecchiamento dai costi elevatissimi e spesso incon- trollabili. Paradossalmente, il teatro lirico del secondo Novecento si libera dei retaggi ottocenteschi (tele dipinte, attrezzi di magazzino, ambientazioni convenzio- nali) ritornando alla sontuosa dimensione barocca delle sue origini elitarie, che pre- vedevano dinamiche produttive basate sul lusso, la sorpresa e la dispersione. Al suo interno, le interazioni con l’innovazione teatrale corrispondono alle richieste d’una committenza mecenatesca e impermeabile alle crisi della contemporaneità. Eppu- re, nonostante i limiti di questo sistema produttivo ancora impresariale, e cioè basa- to sull’assemblaggio progettuale di titoli d’opera e artisti, i connubi felici, i radica- menti professionali e gli spettacoli/guida (le regìe scaligere di Visconti, i Mozart di Strehler, l’aggiornata spettacolarità barocca di Ronconi e Pizzi, la tetralogia wagne- saggi riane di Chéreau...) hanno sedimentato nel tempo esiti di portata generale, aggior- nando, ad esempio, i codici culturali di orchestrali e cantanti, integrando in senso 84 registico e teatrale le competenze degli scenografi e combinando alla musica le ri- sorse del dramma recitato (organici sviluppi interpretativi, azioni mute, serrate compenetrazioni di movimenti, spazi e immagini, reti di dispositivi segnici). L’incontro dello spettacolo lirico con la regìa teatrale a contenuto drammatico ha assestato una teatralità bipolare (musicale e d’interpretazione scenica) che si è via via rinnovata per varianti estetiche, non potendo ovviamente sfociare in radi- cali invenzioni formali o di sistema. Questa stessa teatralità, come risulta dal con- fronto con le più recenti esperienze e soluzioni, costituisce però una fase interme- dia e già conclusa. Durante il suo svolgimento i registi teatrali hanno attivato all’interno del sistema operistico la modificabilità permanente delle funzioni sce- niche (spazi, immagini, corpi e media tecnologici), rendendo così possibile la sua apertura a ulteriori profili artistici e modalità performative. In altri termini: la regìa teatrale ha reso eclettiche ed adattabili le prassi spetta- 51. Dupuis indaga gli sviluppi d’una trasformazione i cui sbocchi essenziali figurano già chiaramente indicati, all’inizio degli anni Sessanta, in una nota osservazione di Theodor W. Adorno: «Mentre nei paesi di lingua tedesca si rimane ostinatamente legati alla forma organizzativa dell’opera del secolo scorso, e cioè al teatro basato su un repertorio, la rappresentazione operistica tende in realtà, sulla ba- se della disponibilità dei teatri, al concetto della “stagione”» (Introduzione alla sociologia della musica, a Einaudi, Torino 1971, p. 97; I ed. Suhrkamp Verlag, Frankfurt am Main 1962). 2. Le strategie culturali delle fondazioni liriche-sinfoniche procedono da incastri di competenze che riguardano il consiglio di amministrazione, il sovrintentende e il direttore artistico. Su questa di- namica istituzionale cfr. A. Bentoglio, L’attività teatrale musicale in Italia. Aspetti istituzionali, organiz- zativi ed economici, Carocci, Roma 2007, pp. 45-51. a 3. Cfr. R. Bing, 5000 nuits à l’Opéra, Robert Laffont, Paris 1975 (I ed. New York 1972). Gerardo Guccini colari del teatro d’opera, consentendo di inquadrare nel ruolo di “regista lirico” anche artisti estranei alle dinamiche rappresentative del teatro drammatico (regi- sti cinematografici, registi d’avanguardia e coreografi). Possibilità, questa, che ad- dirittura capovolge il rapporto originario fra sistema operistico e teatro di regìa. Mentre, a partire dal secondo dopoguerra, le successive leve della regìa dram- matica hanno adattato le proprie risorse culturali ed estetiche alle esigenze degli al- lestimenti operistici; dagli anni Ottanta ad oggi, sono stati gli allestimenti lirici a ri- condurre verso la cultura della regìa interpretativa gli sviluppi del mondo teatrale. Attualmente, il teatro d’opera è un contesto di rigenerazione conservativa dello spettacolo di rappresentazione. Qui, infatti, artisti provvisti di competenze e sen- sibilità postdrammatiche4 (come Robert Wilson, Trisha Brown o la Fura dels Baus) si confrontano con quella dialettica fra “prima” e “seconda creazione” dalla quale si è storicamente emancipato il fenomeno registico5. Questa posizione strategica non dipende soltanto da fattori interni, come le strategie combinatorie dei committenti istituzionali e gli spettacoli che ne risulta- no, ma, in modo anche più determinante ed essenziale, dalle diacronie storiche che distinguono le trasformazioni novecentesche degli allestimenti operistici da quelle delle altre forme spettacolari. Mentre l’opera ha strenuamente combinato, anche incorrendo in terrificanti stridori estetici, il rispetto della partitura e il rinnovamen- saggi to della performance, la storia dello spettacolo si è lasciata ben presto alle spalle l’idea che l’evento scenico fosse rappresentazione – ancorché inventiva, critica e 85 dialettica – d’una drammaturgia precedentemente formalizzata. Sicché l’opera funge oggi da contesto d’incontro fra gli artefici di punta del teatro postdramma- tico ed esigenze di tipo rappresentativo, che, pur superate al livello dei concetti estetici e dei processi storici dell’innovazione, non lo sono altrettanto a quello del- le pratiche correnti e delle rigenerazioni spontanee – sia drammatiche che attoria- li – dell’istinto mimetico e narrativo. Fra “interpretazione scenica” e “scrittura scenica”: le oscillazioni della creatività teatrale Nel 1955, inquadrando storicamente i fermenti del primo Novecento, André Ven- stein distingue con argomenti tuttora validi la mise en scène come dimensione ma- teriale della rappresentazione dalla mise en scène come prassi registica. La prima – dice – è un insieme «dei mezzi d’interpretazione scenica: scenografia, illuminazio- ne, musica e recitazione», la seconda un’attività «che consiste nella connessione, in un certo tempo e in un certo spazio dell’azione recitativa, dei differenti elementi d’interpretazione scenica di un’opera drammatica»6. Ciò che proietta le prime ma- 4. Cfr. nota 24. 5. Sulla nozione di regìa come “seconda creazione” cfr. F. Perrelli, La seconda creazione. Fondamen- ti di regia teatrale, Utet, Torino 2005. 6. A. Veinstein, La mise en scène théâtrale et sa condition esthétique, Flammarion, Paris 1955, p. 7. La regìa lirica, livello contemporaneo della regìa teatrale nifestazioni storiche della regìa al di là delle precedenti modalità di realizzazione non è l’uso sapiente e specialistico dei singoli mezzi dell’interpretazione scenica, quale lo si può rinvenire in qualsiasi epoca storica a partire dai sussidi meccanici e visivi della tragedia greca, ma la ricerca di linguaggi teatrali unitari e corrisponden- ti alle specificità dell’opera drammatica. Indagando il dramma da interprete critico
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