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Antonio Pizzo Antonio Pizzo TEATRO E MULTIMEDIA Attore e scena nell’era digitale Indice CAPITOLO I: LA CONTAMINAZIONE DEL TEATRO 1. Il campo dell’indagine ---------------------------- 2. I caratteri del multimediale ---------------------- 3. La metafora teatrale ----------------------------- 4. La rappresentazione digitale --------------------- 5. La contaminazione tecnologica -------------------- CAP. II - SCENA TEATRALE E NUOVI MEDIA DIGITALI 1. La realtà virtuale come ambiente creativo -------- 2. Corpo reale e scena virtuale --------------------- 3. L’immersione e la perdita ------------------------ 4. Prime esperienze italiane ------------------------ Fonti e materiali dalla rete ------------------------ CAP. III - QUI, ALTROVE, ADESSO: LO SPETTACOLO NELLA RETE 1. Cyberspace --------------------------------------- 2. Dal palcoscenico al web -------------------------- 3. Drama on line: i MOO ----------------------------- 4. La presenza remota ------------------------------- 5. La performance globale -------------------------- Fonti e materiali dalla rete ----------------------- CAP IV - DRAMMATURGIA PROCEDURALE, PERSONAGGI ARTIFICIALI, ATTORE VIRTUALE 1. La fatica dell’organico ------------------------- 2. Gli antenati ------------------------------------ 3. Personaggi credibili ---------------------------- 4. Le tecniche del chatterbot ---------------------- 5. La macchina recitante --------------------------- 6. Verso l’attore virtuale ------------------------- 7. La marionetta digitale -------------------------- Fonti e materiali dalla rete ----------------------- CONCLUSIONI --------------------------------------------- LA CONTAMINAZIONE DEL TEATRO I. LA CONTAMINAZIONE DEL TEATRO I. IL CAMPO DELL’INDAGINE La diffusione di Internet e la trasformazione dei PC in dispositivi multimediali, ha conciso, nella metà degli anni Novanta, con l’integrazione tra lo spettacolo teatrale e i nuovi strumenti della tecnologia digitale. Restano però ancora da definire i modi in cui l’avanzamento tecnologico diventa sia evoluzione del linguaggio, sia un’ulteriore modalità di rappresentazione del mondo contemporaneo. Per adesso sono ancora carenti gli strumenti metodologici, e risultano troppo frammentati i casi connessi per tracciare una compiuta analisi storica. Il Novecento ci ha abituato a poetiche, stili, discipline artistiche, che hanno fatto della contaminazione il proprio statuto estetico, e di conseguenza spesso accade che la critica debba utilizzare categorie analitiche e metodologiche mutuate da differenti ambiti o settori. Il crollo delle grandi narrazioni, che secondo Lyotard individua la cultura contemporanea, trasforma il sapere in un’abilità interdisciplinare1. Quest’ultima è spesso caratteristica negli studi teatrologici. È dunque ancor più necessario delimitare i confini del nostro discorso cercando di resistere ai potenziali pericoli di indeterminatezza. Le forme di collaborazione tra multimedialità e teatro si collocano all’incrocio di due strade differenti. Da un lato possono sviluppare le possibilità dello spettacolo a costituirsi come evento di massa secondo il percorso già iniziato dal teatro in televisione: le informazioni avranno modo di essere divulgate a un pubblico vasto e indistinto2. Dall’altro lato, alcuni esperimenti cercano di assimilare la qualità di evento di selezione, individuando un gruppo di spettatori limitato e costruendo la propria attività performativa in diretta relazione con essi. L’alternarsi di queste scelte definisce un’area in cui si muovono molti dei casi più recenti. Il primo caso corre il rischio di tradursi in qualcosa di radicalmente diverso: l’opera teatrale, trasferita in altro contesto, vede inevitabilmente modificato il proprio linguaggio. Esiste, certo, un teatro per il video del quale si può fare un uso più o meno elaborato, più o meno efficace e che, nel tempo, ha costruito un proprio stile. Quando, ad esempio, osserviamo le produzioni RAI delle commedie di Eduardo De Filippo, sappiamo di trovarci di fronte a un rifacimento per il nuovo mezzo e, sostanzialmente, a una nuova edizione dell’opera. Per quanto il potere illusorio della scatola televisiva ci possa indurre a non mettere a fuoco l’operazione di traduzione in corso, è lo stesso Eduardo a testimoniare come tale operazione sia avvenuta, e in forma cosciente3. Eduardo aveva addirittura sviluppato una sorta di teoria del video teatro secondo quello che definiva “lo spettatore col binocolo”4. 1 Nelle opinioni dell’autore “l’idea di interdisciplinarietà appartiene all’epoca della delegittimazione ed al suo empirismo spinto”; Jean-François Lyotard, La condizione postmoderna, Milano, Feltrinelli, 2001, p. 96. 2 Lo spettacolo, considerato come evento qui ed ora tra attori e spettatori (in qualsiasi forma essi si manifestino), pone limiti intrinseci alla fruibilità di massa. 3 Sulla accettabilità di superficie delle immagini televisive, e circa i suoi effetti illusivi (o ingannevoli) cfr. Gian Paolo Caprettini, La scatola parlante, Roma, Editori Riuniti, 1996. 4 Di questa teoria per il teatro in televisione dà ampia testimonianza il libro di Paola Quarenghi, Lo spettatore col binocolo. Eduardo De Filippo dalla scena allo schermo (Roma, Edizioni Kappa, 1995) dove, a p. 48, viene parzialmente riportata l’intervista rilasciata da Eduardo al “Radiocoriere TV” nel 1977, in cui afferma: “quando faccio un primo piano, secondo me significa il binocolo dello spettatore che va a colpire il punto che lo interessa”. 1 TEATRO E MONDO DIGITALE Non è improbabile quindi che, nella stessa direzione, in futuro, ci saranno altri tentativi di traduzione dello spettacolo teatrale che vadano oltre la semplice riproduzione su nastro analogico. Come già avviene per il cinema, esisterà magari il DVD theatre in cui alla visione dello spettacolo teatrale (ripreso e rimontato) si assoceranno funzioni di indicizzazione delle scene, materiale documentario, commenti degli autori, giochi educativi, eccetera. Sarà magari possibile, come nei film in DVD con funzioni di interazione, decidere di concentrare il proprio sguardo su un particolare personaggio, su una particolare sezione della scena, o addirittura costruire un live editing dell’opera. Sarà forse possibile accedere alla riproduzione della performance in modi sempre diversi di volta in volta, a seconda delle nostre esigenze. Ma tutto ciò appartiene all’ambito della traduzione e trasposizione (anche multimediale ovviamente); riguarda le possibilità di documentazione, riproduzione, commercializzazione di un evento che è già accaduto, e soprattutto non va oltre i problemi già posti negli anni Ottanta5. All’analisi dei nuovi linguaggi multimediali hanno certamente partecipato in prima fila gli studi di semiotica. Per quanto abbiano avuto il merito di chiarire le modalità della comunicazione multimediale, non sempre hanno messo in luce le opportunità creative e artistiche del mezzo; ancor di meno hanno elaborato le possibili relazioni tra spettacolo e multimedia. Individuare le regole gerarchiche della disposizione delle icone sullo schermo del computer, definire le norme per il montaggio delle varie finestre d’istruzione di un qualsiasi “help”, apparentate con le rispettive norme per il montaggio cinematografico, sono attività che aiutano a strutturare il modo di pensare la multimedialità ma possono anche apparire come una sorta di dissezione dell’esistente. L’analisi semiotica dei nuovi media implica necessariamente l’immissioni di metodologie e contributi eterogenei. Gli studi semiotici hanno però, già da tempo, chiarito che l’analisi delle manifestazioni rappresentative deve necessariamente abbandonare la sola definizione delle strutture teoriche del linguaggio, per calarsi nella pratica: bisogna comunque considerare come lo specifico evento rappresentativo avviene in un tempo e in uno spazio definiti. Dunque le effettive possibilità di successo nella decodifica di un testo rappresentativo, congiungendo sia l’analisi dei modelli teorici produttivi di senso sia le intenzioni del soggetto che da luogo all’evento, devono implicare fin dall’inizio un lavoro di interpretazione. Non possiamo analizzare un evento (sia multimediale sia teatrale) prescindendo da una nostra autonoma attività critica e interpretativa6. Non è, in ultimo, da escludere che alcune indagini semiotiche del multimediale meno aggiornate siano debitrici a una rigida idea della produzione commerciale. Sembra che, in questa direzione, alcuni studi applichino le tecniche di ottimizzazione dell’oggetto al linguaggio stesso. Seguendo questo orientamento deducono che non solo il supporto interattivo (CD o DVD) può essere realizzato secondo procedimenti di efficienza produttiva, ma anche il suo stile, la sua forma, l’auspicabile innovazione creativa, debbano essere organizzati secondo criteri simili. Quanto ciò sia fuorviante ed errato lo dimostra l’esperienza del cinema. Se non si 5 Le relazioni tra teatro e immagine elettronica sono state oggetto di varie analisi che non vogliamo in questa sede ripercorrere. Tra i numerosi interventi sull’argomento ricordiamo, in particolare, Valentina Valentini, Teatro in immagine, Roma, Bulzoni, 1987; Andrea Balzona e Franco Prono, La nuova scena elettronica, Torino, Rosenberg & Sellier, 1994; la raccolta curata da Anna Sica e Renato Tomasino, Il villaggio virtuale, Palermo, Palumbo, 1998, e il saggio di Mario Costa, L’estetica dei media, Roma, Castelvecchi, 1999. 6 Cfr. Gianfranco Bettettini, L’audiovisivo dal cinema ai nuovi media, Milano, Bompiani, 1996. LA CONTAMINAZIONE DEL TEATRO può certo negare la complessità
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