Since 1720 Wigs and Makeup in Florence

Via 9 - 50122 Firenze - Tel +39 0552344901 [email protected] - www.filistrucchi.com ediz. 2015 June 2 Presentazionesince 1720 widescreen

3 Index

. The History p. 4

. The Archive p. 11

. Logos p.13

. Projects p. 14 Academic Training p. 16 Artisan Training p. 20 Exhibitions p. 30

. Exhibitions, New Projects p. 38

. Teaching Activities - Filistrucchi: Creator of Emotions p. 39 Presentazionesince 1720 widescreen 4 The History

. The foundation of Filistrucchi . At the time, the "coiffeur" dtdates bkback to 1720. was also bbbarber, wikigmaker, apothecary, phlebotomist, . It is the oldest workshop in Florence and has been passed perfumer, hairdresser and down from father to son. It has make-up artist for both men never changed location ever and women. This was the era since its foundation. in which noble gentlemen, ladies, knights and servants . It began when Cosimo III used wigs. Encyclopédie, Diderot e D’Alembert, The Wigmaster de'Medici, the second to last . At the same time, the need to Duke of Tuscany of the Medici “be transformed” for the dynasty, still governed Florence ever-growing scenic needs, (1642-1723). gave theworkhkshop a large theatrical clientele. Presentazionesince 1720 widescreen 5 The History

. In the 18th century Filistrucchi was present in the most important Theaters of the City: Teatro della Pergola and Teatro Niccolini. . Since that time,there has not been a theater of importance in Florence, or Italy, that has not cooperated with Maestro Flistrucchi. Among the great theaters, which cooperated with Flistrucchi, We should mention: in Milan, La Fenice in Venice, Massimo in Palermo, the San Carlo in Naples, as well as theatres abroad such as The Metropolitan Opera in New York, the Dallas Civic Opera, Boston Opera and the Minnesota Theatre Company.

Filistrucchi archive, sketch of the wig for Dalila played by Rita Filistrucchi archive, sketch of the wig for Alcina played by Joan Filistrucchi archive, sketch of the wig for Gioconda played by Renata Gorr, 1964 Sutherland, Anna Anni, 1960 Tebaldi, 1966 Presentazionesince 1720 widescreen 6 The History

. Since the first Maggio Musicale The Giants of the Mountain in Fioren tino ftilfestival,which BbliBoboli in "Magg io Mil"Musicale" in opened in 1933 with , 1937, Armida (MMF 1952) with Filistrucchi has collaborated with , sets and costumes the most famous directors by Alberto Savinio (De Chirico), (Luchino Visconti, Giorgio the sumptuous in 1969 with Strehler, Luca Ronconi, etc.) and sketches of Prince Henry D'Hesse, costume designers (Giorgio De Orfeo by Monteverdi with music Chirico, Mino Maccari, GC byy Luciano Berio and sets and Sensani, Maria De Matteis, Piero costumes by Pier Luigi Pizzi, Tosi, Anna Anni, Odette Medea in 1952 with Maria Callas, Nicoletti, etc.) in the staging of or Troilus and Cressida in 1949, lavish shows, such as A directed by Luchino Visconti and Midsummer Night's Dream set in sets by Franco Zeffirelli. the Boboli Gardens, Historical Filistrucchi archive, scene photos of Maria Callas with a dedication, the Puritans, Mexico, 1951 Presentazionesince 1720 widescreen 7 The History

. In fact, throughout the years an intense collaboration was created with Zeffirelli which included work carried out for Alcina in 1960 at La Fenice in Venice and the Dallas Civic Opera, the Euridice of Peri in 1960 in the Boboli Gardens, the Don Giovanni in 1958 in Naples Filistrucchi archive, and again with Dallas together with on the top left, signed letter with a sketch of Franco performed by Maria Zeffirelli with description and sketch for wigs for Don Callas, La Lupa with Anna Giovanni, 1960. On the Right photo with Magnani in 1960, Romeo and Juliet inscription, Gabriele and Franco Zeffirellli at the in 1965. LtLast btbut not ltleast, the Municipal Theatre in Florence unforgettable "Traviata" in 1984 at for La Traviata, 1984. the Municipal Theater in Florence. Presentazionesince 1720 widescreen 8 The History

. Throughout the years, so many Dance personalities include: Kyra people could continue talking great personalities of prose, Nijins ky, ClCarla FiFracci, AliAurelio about the shows as well as other music and dance along with Milloss, Maurice Béjart...; in things. This is still customary lesser known "amateur drama musical theater: Maria Callas, today. companies" and promising , Fedora Barbieri, youngsters passed through the Tito Gobbi, Alfredo Kraus, Mario workshop that there is not even Del Monaco, Piero Cappuccilli, enough room to list them all Luciano Pavarotti... with many of here. Some prose personalities whom we established atrue include: Hermes Zacconi, friendship: , Eduardo de Filippo, Giorgio Renato Bruson, Gino Bechi,

Albertazzi, Anna Magnani, Rolando Panerai... Even when Filistrucchi archive:

Anna Proclemer, Annamaria these artists were not working on The photo above shows an Guarnieri, Rossella Falk, the scene, they would usually inscription by Gino Bechi. The photo on the left is an Romolo Valli, Giancarlo attend the workshop, which was a inscription by Kyra Nijinsky. Giannini, Alberto Lionello...; common meeting place where Presentazionesince 1720 widescreen 9 The History

. With the rise of the first film . Even to date, Filistrucchi productions, Filistrucchi started continues towork in films and working with Rifredi in Florence, television. The company works which were the first real film with renowned directors and studios in Italy. actors such as Takeschi Kitano in . Later in 1934,after Gioacc hino "The Story of Three Cities" Forzano founded Tirrenia, the where Kitano played the role of company worked on the creation Niccolò Machiavelli. This film of many films. was shot in 2001 between . During the per-war period, 1941, Florence and Rome for the Filistrucchi was working at Japanese TBS (Tokyo Broad- Cinecitta with "The Dinner of casting System). Mockery" byy Alessandro Blasetti.

Filistrucchi archive, Takeschi Kitano for the make-up of "The Story of Three Cities", Florence, 2001 Presentazionesince 1720 widescreen 10 History and Works

. Filistrucchi archive, on the During 2001 and then in 2003, left a photo of the set, at 2450 meters of altitud e, Filis trucchi collab orat es with with stuntman Ötzi, Prof. Eduard Egarter Vigl, Brando Quilici for the make-up Brando Quilici, an appearance and Gherardo. and special effects in the two Under a scene from the scientific documentaries about documentary. the mummy of Similaun Ötzi ("The Mystery of the Iceman" and "Iceman: Hunt for a Killer") produced for Discovery Channel. Among other things, this collaboration was renewed in 2011 for the a documentary for National Geographic.

Ernest Gaper as Ötzi. Presentazionesince 1720 widescreen 11 The Archive . During it’s employment history . A one of a kind archivie tells not only Filistrucchi studio produced and the story of the workshop but also the received the most varied types history of theater in addition to of documents: bearing witness, in many cases, to the

. Fashion plates, sketches, letters personal lives of many famous written by famous directors, artists. An archive that must be fashion designers, actors, increasingly promoted, protected and singers... together with pictures, safeguarded. program notes, press releases and more... which together with work tools (some old ones) and wigs creations make up the Historical Archive of the Filistrucchi archive, above, a letter signed by Maria Callas workshop. regarding a day wig, Milan, 1963 (?). on the left a sketch of Mino Maccari for the hat of "Falstaff" and even further on the left sketches for "Attila" by Lorenzo Ghiglia. Presentazionesince 1720 widescreen 12 The Archive . The archive was included within . The same Dr. Diana Toccafondi the project "Fashion Archives of Superintendent of Archives for the 1900s" along with those of Tuscany, in a registered letter, the Emilio Pucci Foundation, urges and "recommends to Gianfranco Ferré Foundation, continue to carefully store the Salvatore Ferragamo Museum archive because it constitutes and more... important documentation of

. This project, developed by the Florentine manufacturing Italian National Archives activities". Association and promoted by the . Thanks to the intervention of General Directorate of Archives OmA Osservatorio dei mestieri aims to discover and enhance the d’Arte (observatory for arts and heritage value of archives, crafts), the archive was Above, a letter from Diana Toccafondi, Superintendent of the bibliography and iconography of inventoried in a semi-analytical Archives of Tuscany, which "commends to continue to carefully store the archive since it constitutes an important documentation of Italian fashion. way and conditioned. Florentine manufacturing". since 1720 Unioncamere [The Italian Union of Chambers of Commerce, Industry, Trade and Agriculture] has given the workshop the title of "Historic Enterprise of Italy"to celebrate its three centuries of business.

The City of Florence has entered Filistrucchi in the "Register for Historic Workshops" as a store and business that has had historical, artistic and typological importance for the city.

As a member of the Constituent Assembly, Filistrucchi is part of the “Historic Florentine Business Association”, for which it holds the Presidecy.

The Chamber of Commerce has given Filistrucchi the title of "Master Tuscan Craftsman", which, in this field, qualifies it as a teacher of Tuscan Artistic Craftsmanship. Filistrucchi is also “Bottega Scuola” [Handicraft School Workshop] recognized byy the Regione Toscana (No. BS0983) for the professional training of students.

13 since 1720

14 Projects

. In order to spread their knowledge of craftsmanship as well as a part of Florentine culture, Filistrucchi offers three cultural and educational projects related to link ed themati careas. These cultural and educational projects are customizable at customer's measure. since 1720

15 Projects ACADEMIC ARTISAN EXHIBITIONS TRAINING TRAINING

. Consists of lectures and/or . Consists of workshops, basad . Drawing from the historical seminars and/or academic on several steps, of a practical archives of the workshop, the conferences related to wigs, nature in the area of wigs, thematic area aims to make make-up, masks and stage make-up and masks for the Filistrucchi and its knowledge transformation from "person training of wig-makers/make- known through displays, to character" to be carried out up artists that can also be exhibitions and educational within Theat ers, ShSchoo ls, carridied out in theworkhkshop. activiti es that make theunique Universities, Museums ... cultural heritage and historical archives known and valued. since 1720

16 Projects ACADEMIC TRAINING

Consists of lectures and/or seminars and/or academic conferences related to wigs, make-up, masks and ACCCADEMIC TRAININGstage transformation from "person to character" to be carried out within Theaters, Schools, Universities, Museums ...

. History of wigs, hairdressing . Make-up as scenic illusion, . The Mask in the and make-up through the aesthetic senses and theatrical Commedia dell'Arte. centuries. criteria. Theory . The lectures cover theuseof . The lectures cover the history of . The lectures entertain the the mask in the touring the wig, hairdressing and make- subject theatrical make-up companies of the Commedia up through the centuries, from its starting from the morphology dell'Arte between the 1500s origins to the present day as used of the head to make-up and 1600s. in social and political life, as well according to traditional as fashion and performance. The aesthetic criteria of the show goal is also to develop the applied by the workshop. professional skills of wig makers/makeup artists. since 1720

17 Projects ACADEMIC TRAINING

History of wigs, hairdressing General schedule: . DIRECTORY, EMPIRE AND RESTORATION and makeup throug h the . PREHISTORIC MAN centuries and its stage Tattoo as aesthetic-curative form . THE NINETEENTH CENTURY AND ROMANTICISM IN OPERA transmigration. . WIGS IN THE BIBLE . . IN ANCIENT EGYPT THE TWENTIETH CENTURY The objectiveisalsotodevelop the . STUDENT'S WRITTEN FINAL professional skills of wig makers/makeup . MIDDLE-EASTERN AND REPORT artists starting from reference historical PERSIAN ASSIRO-BABILONIANS . iconography up to the stage transmigration . ANCIENT GREECE FINAL LAB of its historical character. Drawing a historical iconography . ANCIENT ROME Upon completion of this course students . FROM THE ROMAN EMPIRE TO will have gained initial adequate THE COUNCIL OF knowledge to be able to historically CONSTANTINOPLE identify the iconography of the character and early signs of stagetransmigration. . The ORIENT overview Makeup and mask Between China and Japan, the Beijing Opera and Theatre Nō.

. WIGS IN FRANCE from Francis I to Louis XVI since 1720

18 Projects ACADEMIC TRAINING

Il Make-up as scenic illusion, . LIGHT AND COLOR Chromatic . CONCLUSION AND DISCUSSION scale - colored light, natural light - The aesthetic senses and theatrical criteria. . STUDENT'S WRITTEN FINAL influence of light on makeup. Theory REPORT . HEAD MORPHOLOGY AND The goal is to provide students with basic CORRECTIVE MAKEUP Aesthetic . FINAL LAB Creating an exploratory theoretical makeup skills and then tackle the dimensions - Side and front view - drawing of the makeup. practice of "Makeup as scenic illusion". Areas of the face - The human skeleton - Facial muscles. Upon completion of the theory course, students will possess basic theoretical knowledge apt to . EXPRESSION AND FORM Moods - independently create a makeup base. Role - Age - Character. General schedule: . ORGANIZED CORRECTION Eyebrows - Eyes - Temples - Jaws - . REASONS FOR STAGE MAKEUP Chin - Nose - Mouth - Cheeks. SCENIC Stage Metamorphosis stage - Age - Time - Appearance - Expression - . INFORMATION ON MAIN Charac ter - CtiCorrection - Light and DkDark - PRODUCTS AND APPLICATION Distance in the theater - Makeup as a mask TOOLS AND DIFFERENT USES - Light - Color - Shadow. Makeup Differences between products - Theater, differences for various types of Film, Television, Photos etc. entertainment. since 1720

19 Projects ACADEMIC TRAINING Masks in Commedia dell'Arte. General schedule: This conference deals with touring companies of Commedia dell'Arte between the 1500s and the 1600s and their use of masks. Touring companies of famous actors of the period: Flaminio Scala, Francesco and Giovan Battista Andreini, Tristano Martinelli and Pier Maria Cecchini. Upon completion of the conference, students will have a general overview of the masks in Commedia dell'arte conttlidtextualized within their i hist ori cal setting.

. STUDENT'S WRITTEN FINAL REPORT.

. FINAL LAB Drawing a mask of the Commedia dell'arte. since 1720

20 Projects ARTISAN TRAINING

Consists of workshops, in several steps, of a practical nature in the area of wigs, make-up and masks for the training of ARTISAN TRAINING wig-makers/make-up artists that can also be carried out in the workshop.

. Wigs, Mustaches and Beards . Make-up as scenic illusion, . Mask theory and technique aesthetic senses and theatrical . The workshop will teach . The aim of this workshop is to criteria. Practice practical techniques for making

hand down the knowledge of . The aim of this workshop is to put paper mache masks, starting handcrafted material of the work into practice the theoretical notion from the modeling with clay, to of the wig-maker starting with the acquired in the "Academic Training". the plaster cast and, finally, with basics of the crochet technique to Students will be divided into groups the construction using paper the final creation of the wig. and will work on each other using mache and its coloring.

. The Workshop is divided into make-up materials. . This workshop also includes, in

Basic Laboratory, Intermediate . This workshop is broken down into the advanced section, teaching of LbLaboratory and Advance d Beginner's, Intermediate and techihniques to create customidized Laboratory. Advanced (the latter in the form of a cinema and theater masks in conference). latex foam. since 1720

21 Projects ARTISAN TRAINING Wigs, Mustaches and Beards General schedule theory and technique Basic Laboratory:

. CREATING YOUR PERSONAL These types of Workshops are intended to CROCHET HOOK.

expose students to shop work, where learning . WHIP STITCH Independent practice. the technique can only be achieved through Making a hairpiece extensive practice. The intent is to avoid creating notional workshops, ultimately . HAIRPIECE CUTTING and CURLING (mustache, beard, sideburns...). resulting in meaningless efforts. Workshops Execution phase of a mustache on lace front. are broken down into beginners, intermediate . STUDENT'S WRITTEN FINAL and adddvanced. REPORT Also using pictures taken and any drawings/sketches made during the BASIC LABORATORY workshop. The purpose of this workshop is to provide . FINAL LAB Independently creating a basic knowledge of wig making starting from hairpiece (meaning a mustache, beard or basic stitching and using a crochet hook to sideburns...) create hairpieces. Upon completion of this workshop, students will create a hairpiece. Sample creation of a mustache and sideburns. since 1720

22 Projects ARTISAN TRAINING

Wigs, Mustaches and Beards General schedule . SETTING AND HISTORICAL theory and technique Intermediate Laboratory : HAIRSTYLING ON WIGS. 1600s men & women, 1700s men & INTERMEDIATE LABORATORY women, 1800s men & women . PATTERNS FOR HAIRPIECES The goal of this workshop is to reinforce the AND CREATING ON ACTORS . STUDENT'S WRITTEN FINAL teachings of the beginner's workshop and REPORT Also using pictures taken . VARIOUS TYPES OF TULLE and improve skills by introducing other and any drawings/sketches made during their functions manufacturing stages. On-wig setting and the workshop. historical hairdressing techniques will also be . LOOM CREPE, ITS MAKING . FINAL LAB Independently creating a introduced. WHIP STITCH Independent practice. hairpiece (such as mustache, beard or Hairpiece making. Upon completion of this workshop, students sideburns...) starting from creating a will have enhanced the skills acquired in the . HAIRPIECE CUTTING and pattern for the hairpiece to applying it beginner's workshop by increasing their CURLING (mustache, beard, on the actor. Brushing an historical professional knowledge with other work sideburns...). hairstyle wig. phases, as listed in the detailed schedule . APPLICATION to be combined with blbelow. They will also acquire bibasicwig intermediate makeup workshop. setting and hairstyling techniques. since 1720

23 Projects ARTISAN TRAINING

Wigs, Mustaches and Beards . LOOM WEAVING . REVIEW WITH STUDENT

theory and technique . CROSS STITCH, INDEPENDENT OF REPORT AND ARTIFACT AND ADVANCED LABORATORY PRACTICE IMPROVEMENT OR The purpose of this workshop is to teach wig . ASSEMBLY OF WEAVING ON SHELL REMEDIAL BASED ON making techniques. . FINISHING THE WIG THE RESULTS OF THE Upon completion of this workshop, students . CUTTING AND SETTING REVIEW. will acquire technical skills of wigs making. . WIG HAIRSTYLE General schedule Advanced Laboratory: . FINAL LAB Independently making a wig, starting from wig assembly to the final cut . HEAD MEASUREMENTS FOR A WIG various stages: from tkitaking measurements . WRITTEN FINAL REPORT OF THE of the head of the actor to noting them on a STUDENT using photos taken and any wooden head drawings/sketches made during the workshop. . WIG ASSEMBLY from the band of the shell

. HAIR, basics

Wig-making shells since 1720

24 Projects ARTISAN TRAINING

Make-up as scenic illusion, . OBSERVING THE ACTOR'S FACE . POST-MAKEUP PHOTOS.

aesthetic senses and theatrical criteria. LIVE ANALYSIS OF AESTHETIC . ANALYSIS OF BEFORE AND "DEFECTS" BASED ON AFTER. Practice THEORETICAL CONCEPTS. . FINISHED MAKEUP UNDER THE Once the students are broken down into . ANALYSIS OF THE ACTOR BASED STAGE LIGHTS. ggp,roups, they will work on each other in front ON THE MODEL TO BE BUILT Front ligg,ht, side li g,ght, teardro pgp lightin g, of the make-up station. . EXPLORATORY DRAWING OF limelight and their bright and chromatic BASIC LABORATORY THE ICONOGRAPHY TO BE variants; differences and similarities. DEPICTED . FINAL LAB Independently creating The purpose of this workshop is to provide . APPLICATION OF FOUNDATION. makeup. the basics of makeup practice. AdAnd different applicati ons bdbased on the . WRITTEN FINAL REPORT OF THE Upon completing this workshop, students will product used: water, cream and fluids. STUDENT using photos taken and any acquire the technical skills for basic makeup. . CORRECTION BY PAINTING OF drawings/sketches made

AESTHETIC "DEFECTS" BASED . REVIEW WITH STUDENT OF General schedule ON STAGE NEEDS AND BASICS OF Basic Laboratory REPORT AND IMPROVEMENT OR THEATER MAKEUP using pencils, REMEDIAL BASED ON THE . PHOTO OF THE ACTOR/STUDENT. powders and creams. RESULTS OF THE REVIEW. since 1720

25 Projects ARTISAN TRAINING Make-up as scenic illusion, . EXPLORATORY DRAWING OF . FINAL LAB Independently creating THE ICONOGRAPHY TO BE makeup using implants or hairpieces. aestheti c senses and th eat ri cal crit eri a. DEPICTED . WRITTEN FINAL REPORT OF Practice . CHOICE OF THE IMPLANTS THE STUDENT using photos taken AND/OR CAP AND IT’S and any drawings/sketches made during INTERMEDIATE LABORATORY APPLICATION the workshop. The goal is to independently create a . CHOOSING THE FOUNDATION . REVIEW WITH STUDENT OF "character" type, starting from the work AND CREATING CHARACTER REPORT AND IMPROVEMENT carried out during the beginner's course, using MAKEUP Using pencils and/or powder OR REMEDY BASED ON THE mustaches, beards and/or implants and caps and/or cream. RESULTS OF THE REVIEW. and swi vel ccpslamps as needed. Upon . APPLYING ANY MUSTACHE, completion of this workshop, students will BEARD AND WIG.

know how to independently create "character" . POST-MAKEUP PHOTOS. makeup. . BEFORE AND AFTER. General schedule Intermediate Laboratory . MAKEUP COMPLETED ON STAGE. . PHOTO OF THE ACTOR. Analysis of the same from a distance or . ANALYSIS OF THE ACTOR BASED from the pit under the stage lights and ON THE MODEL TO BE BUILT any applicable correction/improvement. since 1720

26 Projects ARTISAN TRAINING Make-up as scenic illusion, General schedule Advanced Workshop aesthetic senses and theatrical criteria. During the conference workshop, the instructor will demonstrate how to create a Practice special effect and students will mirror the ADVANCED CONFERENCE instructor's work. WORKSHOP . FINAL LAB Independently creating special effects makeup. The purpose of the conference workshop is to . WRITTEN FINAL REPORT OF teach students some special effects makeup THE STUDENT using photos taken such as cuts, wounds and burns... during the workshop. Upon completion of this conference . REVIEW WITH STUDENT AND workshop, students will independently create IMPROVEMENT OR REMEDIAL some special effects makeup. BASEDONTHERESULTSOF THE REVIEW.

Some examples of special effects made with makeup since 1720

27 Projects ARTISAN TRAINING Mask . LIFTING THE MASK FROM THE CAST AND GLUING THE BASIC LABORATORY PIECES TOGETHER

The purpose of this workshop is to teach how . APPLYING PLASTER, COLOR to build paper mache masks from an existing AND FINISHES cast. . FINAL LAB Independently Upon completion of this workshop, students building a mask. will independently build a paper mache mask . WRITTEN FINAL REPORT OF General schedule THE STUDENT using photos Basic Laboratory taken and any drawings/sketches made diduring theworkhkshop. . PAPER AND PREPARATION . REVIEW WITH STUDENT . PREPARING THE NEGATIVE AND IMPROVEMENT OR . THE MULTIPLE LAYERS OF PAPER REMEDIAL BASED ON THE IN THE CAST RESULTS OF THE REVIEW.

Phases of creating a paper mache Harlequin mask since 1720

28 Projects ARTISAN TRAINING

Mask . EXPLORATORY DRAWING OF THE . REVIEW WITH STUDENT INTERMEDIATE LABORATORY MASK TO BE BUILT AND IMPROVEMENT OR REMEDIAL BASED ON THE . SHAPING IN CLAY OR PLASTICINE The purpose of this workshop is to teach RESULTS OF THE REVIEW. how to build paper mache masks: from . CAST IN PLASTER AND ITS shaping in clay or plasticine to creating CLEANING

the cast starting from an existing positive . BUILDING THE MASK WITH PAPER of an actor. MACHE AS LEARNED IN THE Upon completion of this workshop, BEGINNER'S WORKSHOP students will have the right skills to . FINAL LAB Independently creating a indepen dently c re ate a p ape r maccehe mass.k. paper mache mask.

General schedule . WRITTEN FINAL REPORT OF THE Intermediate Laboratory STUDENT using photos taken and any drawings/sketches made during the . STUDY OF THE SKETCHES OR workshop. REFERENCE IMAGE

Model in plasticine and plaster casting of a mask to create a negative since 1720

29 Projects ARTISAN TRAINING

Mask . SHAPING IN PLASTICINE . COLORING AND PLACING IT ON THE ACTOR to be combined ADVANCED LABORATORY . CAST IN PLASTER , OPENING with the intermediate workshop of AND CLEANING THE CAST The purpose of this workshop is to teach makeup. how to build latex foam masks starting from . MAKING THE FOAM TO CREATE . REVIEW WITH STUDENT the actor's impression to the ultimate THE LATEX FOAM MASK AND IMPROVEMENT OR creation of the mask. Upon completion of . COLORING AND PLACING IT ON REMEDIAL BASED ON THE this workshop, students will acquire the THE ACTOR to be combined with the RESULTS OF THE REVIEW. skills to independently build a latex foam intermediate workshop of makeup. mask. . FINAL LAB Independently creating a Gen eral sch edule latex foam mask . Advanced Laboratory . WRITTEN FINAL REPORT OF . THE ACTOR'S IMPRESSION THE STUDENT using photos taken

. CREATING THE POSITIVE and any drawings/sketches made during the workshop. . EXPLORATORY DRAWING OF THE MASK TO BE BUILT Taking the actor's impression and Placing the customized latex foam mask on the actor since 1720

30 Exhibitions THE PROJE CT EXHIBITIONS TEACHING ACTIVITIES

. Drawing from the historical . Filistrucchi has created three . THE ARCHIVE AND TEACHING- archives of the workshop, the exhibitions, which are TRAINING ACTIVITIES thematic area aims to make specified below. The project The project involves the Filistrucchi and its aims to implement the three transmission of cultural knowledge known through current exhibitions and to, knowledge and material displays, exhibitions and always drawing from the knowledge through awareness edtilducational activiti es tomake archive, createothers that of ooene of ttehe most importa nt the unique cultural heritage may recount of the workshop parts of the workshop, and historical archives and its relationship with the consisting of its historical known and valued. various personalities from archive. the entertainment world as well as Theatre or Drama Company personalities. since 1720

31 Exhibitions

. Zeffirelli Filistrucchi, memories of Zeffirelli Filistrucchi, an artisti c fifriend dhiship. Through out EXHIBITIONS memories of an artistic friendship its history, Filistrucchi has had the . The exhibition has received a honor to work with the great masters show of support by former such as Franco Zeffirelli with whom Italian President Giorgio a friendship that goes beyond the Napolitano. employment relationship flourished. This exhibition consists of letters . The show is suitable to be written byy Zeffirelli and sketches of staged bothintheatricalvenues famous artists such as Piero Tosi and and in other non-theatrical Anna Anni, and tells about the spaces. employment relationship between this Master and the workshop. OmA, . Zeffirelli Filistrucchi, Osservatorio dei mestieri d'Arte memorie di un sodalizio artistico, (observatory for arts and crafts) Catalog ISBN 978-88-596-1363-3 sponsored this exhibition. since 1720

32 Exhibitions On the left, preparing the display curated by Stefano Maurri, the photo below Zeffirelli Filistrucchi, shows the preparation of the EXHIBITIONS memories of an artistic friendship display, Teatro della Pergola – Florence.

On the right, photos and sketches for "Euridice" direction and scenes by Franco Zeffirelli, costumes by Piero Tosi, Florence in 1960 and 1965. Below, documents and photos of the section of the display dedicated to Maria Callas. since 1720

33 Exhibitions

Zeffirelli Filistrucchi, EXHIBITIONS memories of an artistic friendship

On the right, Photographs of the show at the Teatro della Pergola dedicated to the "Lupa". Below, documents and photos of the "La Traviata" direction, sets and costumes by Franco Zeffirelli, Florence 1984. since 1720

34 Exhibitions

. Filistrucchi in images, this EXHIBITIONS Filistrucchi in images, exhibition is based on the historical

photo archive of the workshop, and . The exhibition consists of bears witness to the staging of many panels, some of which show performances; starting with the first the photographs from the edition of absolute Bohéme to archives of the workshop. present day. . The show is suitable to be . A cross-section view of the unique staged both in theatrical show world is used to teach future venues and in other non- generations about a theater that is theatrical spaces. only present in our memory but that still has much to teach. since 1720

35 Exhibitions

Some photos from the exhibition and its construction Filistrucchi in images, at the Teatro di Cestello - EXHIBITIONS Florence since 1720

36 Exhibitions

. Filistrucchi beyond the scene, this Filistrucchi EXHIBITIONS beyond the scene is a didactic exhibition with the aim

of making the real work of a wig- . The project may also include maker/make-up artist known; the practical demonstrations of exhibition includes the iconoggpraphic work in order to better convey idea of director/dress designer, the the workshop's artisan craft by craft of the wigmaker/make-up artist reconstructing the living and the staging. laboratory of the workshop

. The exhibition consists of with a worktabl eand the explanatory panels, divided by related materials and working phases, and is accompanied equipment.

byy glass cases showing both finished . The show is suitable to be parts and works in progress. staged both in theatrical venues and in other non- theatrical spaces. since 1720

37 Exhibitions

Photos of the exhibition at the Teatro Puccini - Florence. Under one Filistrucchi of the exhibition panels EXHIBITIONS beyond the scene

Below, Photographs of the Puccini Theatre in Florence with explanatory panel and its reliquary containing processing steps of the object.

Gennaio 2015 since 1720

38 Exhibitions, New Projects

EXHIBITIONS New Projects

. Drawing from numerous archival . As of now, the identifiable macro thematic documents it is possible to continue areas may be identified as follows: recounting the history of the 1. The work of Filistrucchi in National and workshop and its work. The archive International Theatres also contains the most heterogeneous documents that, if analyzed, tell of the 2. The female figures in the Work iconography On the top sketch of the beard private lives of famous artists. Thanks of the Filistrucchi Archive. Interpreted by Callas, Below sketch for a show with a Tebaldi, Barbieri and others sample hair. to these documents, iit isalso possible to deduce the development of a single . The feasibility of the proposed general set design. themes will have to be supported and developed after careful archival research. . The project also includes an archival study phase in which homogeneous thematic materials can be identified. since 1720

39 Projects: TEACHING ACTIVITIES - FILISTRUCCHI: CREATOR OF EMOTIONS

. To fully understand the . The archive contains a FILISTRUCCHI: spiitirit and work of hdhardcopy/ /htphotographi cpart as well as CREATOR OF EMOTIONS Filistrucchi, particular wood heads for the execution of the attention must be given to products, processing equipment (some the archive because it is not ancient) and wigs produced throughout only the historical memory the history of the workshop. of Filistrucchi but also the . THE ARCHIVE AND TEACHING- crystalline memory of how TRAINING ACTIVITIES work in the shop was . The ppjroject involves the transmission of conceived and executed. cultural knowledge and material The archive is also a source knowledge through awareness of one of of inspiration in the the most important parts of the iconographic search for the workshop, consisting of its historical character to be represented. archive. since 1720

40 Projects: TEACHING ACTIVITIES - FILISTRUCCHI: CREATOR OF EMOTIONS

. The study of archival . Not very long ago, image archives hair, horsehair or other materials), workttikstation can also thteach on the ItInternet did not exitist and thecolor and thestltyle by how to interpret the idea of sketches, usually made by costume conceiving, at the source, the final the director/costume professionals, was the only way to image of the character, which is designer, aiming towards a explain the desired iconographic also formed from by make-up and perfect scenic-emotional result to Filistrucchi. any prosthesis or masks. execution in collaboration . Filistrucchi was, and is, the with the other crafts of the perpetrator of the image of the stage. model. Thanks to its professional experience, it is an advisor for its clients, the interpreter of an image so that it can appear scenically emotilional,and this is done by choosing the type of material for the wig, beard, mustache (hair, yak since 1720

41 Projects: TEACHING ACTIVITIES - FILISTRUCCHI: CREATOR OF EMOTIONS Project phases THE FILISTRUCCHI LIBRARY . Scenic contextualization of the Didactics-education: artifact/s and the make-up . AthAnother tiitraining milest one may . Studying and reading of the according to the theater, the set be identified with referencing the archive model. Filistrucchi Library, one of the design and predominant stage most comprehensive in the . Understanding the feasibility lighting. of execution. industry, featuring books on the . Possible study based on the history of fashion as well as . Interpreting and measuring the presence of archival documents, actor/actress as well as the theater. The library and the head selected. the difference between first archive are sources of inspiration trial/s of the model and in iconography as well as culture. . Selecting of material subsequent copies. according to the model and its feasibility. . Creating the object starting from thearchive modldel. . Executing, in stages, the wig, mustache, beard, prosthesis, . Final student’s report. mask, etc. Febbraio 2015 Presentazionesince 1720 widescreen

42

. It is through these experiences that the tradition has been handed down from father to son. The path starts with the idea and the sketch, passing through the work of the wig- maker and the make-up artist to transform the "person" into "character“. The Path is complete when a perfect Scene creates a Metamorphosis into the character represented.

. Thanks to the combination of the craftsmen’s passion for their work and the great love for the theater and its world, this tradition has been able to survive for almost three hundred years. ediz. 2015 June 43 Via Giuseppe Verdi 9 - 50122 Firenze - Tel +39 0552344901 [email protected] - www.filistrucchi.com