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Regia E Vita. L'archivio Di Luca Ronconi

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Regia E Vita. L'archivio Di Luca Ronconi Soprintendenza archivistica e bibliografica dell’Umbria e delle Marche Regia e vita. L’archivio di Luca Ronconi Inventario a cura di Rossella Santolamazza Perugia, settembre 2017 Ringraziamenti La curatrice ringrazia il soprintendente Mario Squadroni per l’incarico conferitole. Ringrazia, inoltre, Roberta Carlotto, proprietaria dell’archivio, per aver permesso il riordinamento e l’inventariazione del fondo e per il sostegno garantito nel corso del lavoro. Sostegno garantito anche da Claudia di Giacomo ed Elisa Ragni, cui si estendono i ringraziamenti. Ringrazia, infine, Alessandro Bianchi e Simonetta Laudenzi, funzionari della Soprintendenza archivistica e bibliografica dell’Umbria e delle Marche, per aver, rispettivamente, fotografato gli oggetti in fase di riordinamento e contribuito al riordinamento di alcune buste di documentazione della serie Carteggio personale e contabile e Leonardo Musci e Stefano Vitali per i consigli. Nel frontespizio: Fotografie di Luca Ronconi conservate nell’archivio In alto a sinistra: ASPG, ALR, Attività giovanile, b. 1, fasc. 11, sottofasc. 1; a destra: Ivi, sottofasc. 2. In basso a sinistra: ASPG, ALR, Regie, Documentazione non attribuita, b. 67, fasc. 3, sottofasc. 4; a destra: Ivi, sottofasc. 6. In ultima pagina: Fotografia del premio Lingotto ’90: Gli ultimi giorni dell’umanità, ASPG, ALR, Premi, b. 89, fasc. 19. ISBN 9788895436579 © 2017 - Ministero dei beni e delle attività culturali e del turismo. Soprintendenza archivistica e bibliografica dell’Umbria e delle Marche 2 PRINCIPALI SIGLE ED ABBREVIAZIONI ALR Archivio Luca Ronconi AMAT Associazione marchigiana attività teatrali ASPG Archivio di Stato di Perugia ATER Associazione Teatri Emilia-Romagna AUDAC Associazione umbra per il decentramento artistico e culturale BPLR Biblioteca professionale di Luca Ronconi CEE Comunità economica europea CESVI Cooperazione e sviluppo ENEL Ente nazionale energia elettrica ENPALS Ente nazionale di previdenza e assistenza per i lavoratori dello spettacolo ENPAS Ente nazionale previdenza e assistenza ai dipendenti statali ERBA Emilia-Romagna Biblioteche Archivi ETI Ente teatrale italiano FNR Fernanda Nardi Ronconi FR Francia GB Gran Bretagna INGRAF Industria grafica IUAV Istituto universitario di architettura di Venezia LOI Libro origini italiano PG Perugia RAI Radiotelevisione italiana RCS Rizzoli-Corriere della sera SA Salerno SAI Società assicuratrice industriale SIAE Società italiana degli autori ed editori SIP Società italiana per l’esercizio telefonico TV Televisione USA United States of America b. busta bb. buste b/n bianco e nero c. carta cc. carte c/o presso Co. Company d.lgs decreto legislativo dott. Dottor fasc. fascicolo fascc. fascicoli M. Maestro n. numero nn. numeri nov. Novembre onlus organizzazione non lucrativa di utilità sociale p. pagina pp. pagine reg. regolamento sas società in accomandita semplice s.d. senza data 3 s.e. senza editore s.l. senza luogo snc società in nome collettivo s.n.t. senza note tipografiche sottofasc. sottofascicolo sottofascc. sottofascicoli srl società a responsabilità limitata succ. succursale tot. totale vers. versione vol. volume 4 PREMESSA In una piovosa giornata della primavera del 2015 accompagnai Mario Squadroni, il soprintendente archivistico dell'Umbria e delle Marche, presso la residenza di Luca Ronconi, un tradizionale casale umbro da lui acquistato alla fine degli anni Settanta e fatto successivamente ristrutturare dall’architetto Gae Aulenti. Qui il regista, in un luogo sicuramente suggestivo, nel territorio del Comune di Gubbio, aveva scelto di avere la sua dimora principale. All’interno della proprietà, poco distante, aveva anche dato sede al Centro teatrale Santacristina, fondato nel 2002 con Roberta Carlotto, a mica e collaboratrice di lunga vita: lui ne era direttore, lei presidente. Ronconi era morto da poco a Milano, il 21 febbraio 2015. Quel giorno, a Casa del Diavolo, ai piedi delle colline che si stendono tra Gubbio e Perugia, ci aspettavano Claudia Di Giacomo, esecutore testamentario, e Roberta Carlotto, alla quale erano destinati, secondo il documento olografo del 25 settembre 2013, l’archivio e i volumi della biblioteca di argomento professionale. Claudia Di Giacomo, per assolvere al suo incarico, aveva già visionato il materiale e ne aveva anche stilato un primo elenco, datato 21 marzo 2015, individuando così tutto quello che poi ci mostrò durante il primo sopralluogo. Alla fine di quella mattinata ci salutammo per risentirci al più presto, anche perché il lascito di Roberta Carlotto doveva essere rapidamente portato via da quella proprietà, di cui avrebbe disposto un altro erede. Mario Squadroni assicurò tutta la collaborazione della Soprintendenza e fece immediatamente presente che sarebbe stato necessario fare un elenco di consistenza, come lo chiamiamo noi archivisti, propedeutico all'emissione della dichiarazione di interesse storico particolarmente importante dell’archivio, cioè quel provvedimento che fa di un fondo privato un bene culturale da rendere fruibile e da valorizzare. In attesa di individuare un’idonea sede di conservazione, si decise, subito dopo, di portare tutto il materiale a Perugia, presso la Soprintendenza, affinché un funzionario ne prendesse visione e avviasse le pratiche necessarie per il vincolo. Il soprintendente mi assegnò l’incarico e cominciai così ad occuparmi di quel primo nucleo documentario e di tutto quello che ne è seguito e ad esso si è collegato. Un lungo percorso, durato oltre due anni, passato attraverso l’imballaggio e il trasferimento del materiale nella vecchia sede della Soprintendenza, l’arrivo di un altro cospicuo nucleo di documentazione, in due successive spedizioni, dal Piccolo Teatro di Milano, dove Ronconi aveva lavorato fino alla sua morte, e di altro materiale che era conservato presso il Centro teatrale Santacristina; poi i due progetti di digitalizzazione di circa 12000 immagini; infine la consegna, il 28 aprile 2017, dell’archivio riordinato ed inventariato, della biblioteca e dell’annessa collezione di dischi, all’Archivio di Stato di Perugia, che lo conserverà, ai sensi dell’art. 43 del Codice dei beni culturali e del paesaggio (d.lgs. 22 gennaio 2004, n. 42). In questo lungo percorso ho conosciuto, attraverso le sue carte, il grande Maestro, come in molti usavano ed usano chiamarlo. Sapevo chi fosse, ma non avevo mai visto un suo spettacolo. Questo lavoro mi ha dato il piacere e la soddisfazione di avvicinarmi alla sua creazione artistica. Ho imparato tante cose sulla sua attività professionale, comprendendo anche perché, in molti, lo chiamavano e lo chiamano, a ragione, così: Maestro. Rossella Santolamazza 5 6 NOTA DELL’ARCHIVISTA Un inventario archivistico che si rispetti, di solito, si apre con quelle note storico- istituzionali sul soggetto produttore che, nel caso di una persona, si trasformano nella sua biografia. Questo inventario dovrebbe quindi aprirsi con la biografia di Luca Ronconi. Impresa, questa, piuttosto ardua per qualsiasi archivista, considerato il peso del personaggio e la sua importanza nel panorama teatrale e lirico italiano ed internazionale degli ultimi cinquant’anni. Un personaggio che “scotta”, nel senso che, per scriverne, è necessario avere competenze specifiche ed averne seguito e percorso tutte le vicende professionali. Di lui, biografie vere e proprie non le ha pubblicate nessuno; esistono interviste, realizzate qual e là nel corso del tempo, e diversi volumi sulla sua produzione artistica, conservati anche in archivio e nella biblioteca ad esso annessa. Alcuni di questi testi sono stati di aiuto nel lavoro di riordinamento e di inventariazione dell’archivio, in particolare per date e luoghi degli spettacoli e per l’attribuzione ad essi delle tante fotografie rinvenute. Si tratta, in particolare, dei volumi: Luca Ronconi al Piccolo a cura di Maria Grazia Gregori1; Teatro della conoscenza di Luca Ronconi e Gianfranco Capitta2; Luca Ronconi. Un grande maestro negli anni dei guru di Italo Moscati3; Ronconi secondo Quadri, a cura di Leonardo Mello4; Luca Ronconi. Gli anni della Scala a cura di Vittoria Crespi Morbio5. Di grande supporto è stato, inoltre, il sito Luca Ronconi, che il Centro teatrale Santacristina aveva realizzato quando il Maestro era ancora in vita e che si è arricchito, negli ultimi due anni, anche grazie a questo lavoro. In archivio, poi, è stato rinvenuto un documento importante, una sorta di autobiografia, in due versioni simili ma non uguali, scritta da Ronconi con la giornalista Maria Grazia Gregori, probabilmente tra il 1993 e 1994, e mai pubblicata, che troverà presto la sua rivisitazione per mano dello storico dell’arte Giovanni Agosti. Ad essa si è attinto soltanto per qualche informazione sulla famiglia e l’avvio della carriera. In questo inventario, quindi, quella di Ronconi non sarà una vera e propria biografia, ma un breve racconto in successione cronologica degli avvenimenti più salienti della sua carriera, ripresi dalla documentazione e confrontati con il sito sopra citato. Anche di Fernanda Nardi Ronconi, la mamma di Luca, ci sono poche note biografiche; nell’ultima serie dell’archivio, infatti, si raccoglie un nucleo documentario che ne fa, a pieno titolo, un soggetto produttore da descrivere in inventario. Quanto all’archivio, quello di Luca Ronconi, come spesso capita per i fondi prodotti da persone, costituisce un “unicum un po’ speciale”, un insieme di materiale di vario tipo, che costringe l’archivista a scelte azzardate. A copioni, corrispondenza, manifesti, locandine, programmi di sala, fotografie,
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