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The Dream in the Shell

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The Dream in the Shell Stefano Carlucci The Dream in the Shell Premise “Che cos’è un teatro? Un edificio?.... Il teatro sono gli uomini e le donne che lo fanno. Eppure quando visitiamo i teatri di Drottingholm o di Versailles, il Teatro Farnese di Parma o l’Olimpico di Vicenza, sperimentiamo spesso le stesse reazioni cinestetiche che può darci uno spettacolo vivente. Quelle pietre e quei mattoni diventano spazio vivo anche se non vi si rappresenta nulla. Sono anch’essi un modo di pensare e sognare il teatro, materializzarlo e trasmetterlo per secoli”. (E. Barba, La canoa di carta, Il Mulino, Bologna 1993: 153). View of three-quarters of the interior of the Olympic Theatre in Vicenza The role played by the Teatro Olimpico in Vicenza in the evolutionary history of Western Theatre has been a core topic at the center of many discussions and analysis since its construction in the end of the Sixteenth Century. Notwithstanding the deepness and complexity of these studies none of them seems to have clarified with certainty the very identity of this particular building: this “peculiar dramatic creature” should be considered the last of the ancient theatres, the first of the modern ones, a unique experiment or what else? "... Although Palladio's building with his scaenae was much admired frons much, it was too impractical to building to be copied. It is not, as said ssually, the first modern theater but one of the last and the greatest of the Renaissance academic theaters”.AA. VV., The Oxford Companion to the Theatre, edited by Phyllis Hartnoll, OU P., 1967: 36. In a multitude of definitions that seamlessly come to consider the Teatro Olimpico a fine dramatic plaything rather than a damp and dusty old shell, only suitable to accommodate swarms of distracted tourists, the only concrete certainty is the amazing longevity of this architectural entity, as a matter of facts after more than four hundred years the theatre survives, intact but fragile, just like a petrified flower. The following work is conceived as a further attempt to explain, through a semiotic approach, the essence of the Teatro Olimpico. The theatre will be esaminde as it were a real actor in some way forced (against his will?) to play an uncomfortable double role: on the one hand the "pampered but coerced host" at the mercy of managers more or less aware of its dramatic potentials, proud of the prestige arising from having such a decidedly flamboyant parlor, on the other a nuisance problem for its own custodians, annoyed by the burden necessary for its complex maintenance. The prisons become a theatre “E insomma i teatri vorriano tutti essere come l’Olimpico di Vicenza, nobilissimo testimonio della splendidezza di quella patria e della magnanimità di quei signori Accademici”. A. Ingegneri, Della poesia rappresentativa e del modo di raccontar le favole sceniche, Ferrara, 1598. The words of Angelo Ingegneri, the person responsible for direction and lights for the first Oedipus the Tyrant (the hendecasyllables version of Sophocles Oedipus the King) would have been meaningless if given only a few years before 1585, the year in which the Olympic Theatre was inaugurated. This lavish premiere, which generated a widespread interest in all the major courts of Europe, found its unusual location in an old and ruined medieval castle river, which over the centuries had become a customs post, a monastery and a prison. In 1579 the famous architect Andrea Palladio was commissioned by the Accademia Olimpica of Vicenza to design a theatre "in the manner of the ancients" in that old castle located on the banks of Bacchiglione, the river that runs through Vicenza. But in this particular case the architect could not in any way give to the theatre an explicit architectural significant (a façade) which could witness its public identity and dramatic features. In accordance with the neoplatonic philosophical theories, so popular in the Renaissance Italy, Palladio used to give an "organic structure" to all his works, an architectonic identity through which interior and exterior, public and private spaces, could prove inextricably connected to each other, all the components of a building should in some way reflect a principle of universal harmony: "I have made the frontespiece in the main all of the villas and town-houses also in. Some ... Because Such frontespieces show the entrance of the house, and add very much to the grandeur and the magnificence of the work, the front thus being made more eminent than the rest". Palladio 1570. From this point of view the Teatro Olimpico could be briefly described as a singular exception in the extended list of Palladio's works, the most representative example of which is probably the long and fruitful collaboration cemented over the years with Paolo Veronese. The frescoes that adorn Villa Volpi near Maser are the perfect blend of architectural space and pictorial space, a special kind of combination through which the rooms inside are able to echo that sense of airy wideness of the country outside. Not focusing now on the reasons that did not allow the theatre to have a face outside it is interesting to note that even today for any unsuspecting tourist would be almost impossible to identify the very presence from the outside. What can be seen even from the inner courtyard of the castle in no way testifies the architectural exuberance of the theatre, the identity of which is perfectly hidden by the sober and solid walls that surround it, a wonderful mimetic skin in line with the medieval center of Vicenza. That same center in which Palladio had focused in the previous years a good part of his innovative works: the Loggia del Capitaniato, the Basilica della Ragione and Palazzo Chiericati. In this socio-historical context a group of humanists, the founders of the Olympic Academy, fascinated by the glories of classical civilization, expressed symbolically their desire for liberation from the hatred Venetian control through the organization of a series of ephemeral installations at special occasions, the logical consequence of which was the decision to build a permanent theatre, which should become at the same time the perfect focus for their exercises but also the dramatic testimony of their enduring prestige. Paradoxically the Fifteenth and Sixteenth Italian court theatres, and especially the Teatro Olimpico, somehow betrayed the spirit of the ancient theatre which they wanted to recreate: the Teatro Olimpico copies the shapes of an ancient theatre, but it is much smaller and it is covered, in a sort of architectural personalization it plays the role of a classical theatre being very different from it: “The italian princes of the Renaissance, seeking to revive in their own domains the departed glories of classical civilization began the staging of classical drama in theatrical spaces based on what were thought to be classical architecture principles... Vitruvius De Architectura was rediscovered in 1414. Even had the intepretation of these sources totally accurate, however the altered social structure of Renaissance Italy placed theatre in a very different social context from that of ancient times, and the physical configuration of the new theatres not surprisingly reflected this”. M. Carlson 1987: 37. Staying in a strictly semiotic perspective it is useful to remember that the value of a symbol is undeniably associated with its visibility and comprehensibility within a shared communication system, outside which its significance is greatly diminished. Olympic Theatre, inner courtyard In this particular case the ambitious plan of the Academicians can be considered flawed since its conception: the demonstration of desired glory is in fact hidden in the eyes of many, to be paid only to the vision of a very restricted circle of people, the mimetic capacity of those walls that Beyer calls “anonymous brick” (1984: 9) is almost absolute. This kind of "infidel revival of the past” (I.e.: neither precious marble nor huge en plain air caveas, but only silver fir wood covered with stucco) shows all its limits: "Although the desire to construct slavish imitations of Classical theaters was clear, the primary obstacle to this dream of illusory was economical restoration. For no prince, town, or Academy had the means to construct huge stone theaters those whose imposing ruins still dominated the surrounding buildings". Remo Schiavo, A guide to the Olympic Theatre, Accademia Olimpica di Vicenza, Vicenza, 1987: 95. The Olympic even if inspired by the ideals of beauty and prestige based on the classical model it is hopelessly conditioned by the actual situation of a city politically and economically subordinate to the fate which can not in any way escape from. The permission obtained from the city of Vicenza which grants that part of the castle Customs (municipal resolution of 24 February 1580) let the work start, with the initial constraint of not affecting in any way the original main building structures. This implementing procedure somehow recalls the artificial insemination, even here in fact the original ovule/signifier is removed to accommodate a new nucleus/meaning, the changing significance of the castle is thus enriched with new paths of interpretation. The exterior walls still have a protective function, comparable to the one of the cocoon for the chrysalis, with the slight difference that in this particular case the symbiosis of architecture, unlikely the biological one, is designed to last and not finalized to the breaking of the shell, without which this genetically modified building could not exist. Just as a direct result of the small space available the Palladian project to build a theatre on the model of the Greeks and Romans ones would have been at least problematic, to answer to this difficulty the architect was forced to call for all his creativity, finding a solution thanks to a smart alternation of empty and full spaces (i.e.: elliptical cavea and upper colonnade).
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