It is quite interesting to note how confident Italian actors are about the definition of their own product: the show.
Italian academics, drastically heterophile, use terms as the French pièce and the English play, ’pezzo’ e ’gioco’ in Italian, which are useless in this regard. Now, they have invented this Italianization: ’arti performative’.
Well, granted that these are simply ridiculous language exercises, we would like to make clear that what we make is theatre and that we make it with our bodies, minds and hearts, creating everything with our own hands: this is what we call ’show’. We have no doubts about the accuracy of the term nor about its clarity.
A show, as the name says itself, has to capture the audience’s attention and shall keep it for the whole show-time. Hence, what? It has to be clear, enjoyable, accessible.
There is a great variety of genres in the history of theatre and in entertainment in general. Thanks to the technological developments in the last hundred years, new forms and genres have been added to the ancient ones, which are all still existing.
There are not many ways to make a show and to entertain the audience: you have to make people laugh, cry, either by scaring or exciting them. There are, of course, many genres that can make people laugh, as many are those that generate excitement and those that can ’shock’; even the concept of ’excitement’ shall be understood in different ways, besides the sexual context, excitement can be generated by fights, sports, ’suspense’, rhythms.
There is only one ingredient, unfortunately widely used in the twentieth century theatre, which can annihilate any conditions or mode of entertainment: the lack of clarity. A show must be crystal clear, understandable, perfectly intelligible to any kind of audience. We firmly believe that clarity is far from compromising the depth of messages or meanings, as the advocates of a dark and unintelligible theatre think; on the contrary, clarity is something close, very close, to the truth.
Moreover, clarity means proving skills, as it shows how skilled an artist is or if it is not skilled at all. A gloomy and unintelligible show, hides the inability of - for example - telling a story and getting the audience involved; people degrade themselves by thinking that "they are not up to that artistic level” and that “ it is only their fault if they cannot understand it”. Unfortunately, after witnessing one of those horrendous performances, many condemn themselves. Every time the result is the same: the audience stop going to the theatre and goes out to have fun somewhere else.
A play must be clear, well-made, clever and most of all ENJOYABLE.
In the current theatrical language, the concept of ’repertoire’ is considered as something accessory. Historically it had a stronger value, as the repertoire was the artistic asset of both, the artist and the company, to drawn from and to develop.
The same play can be performed for years, decades, for the lifetime of the artist, or of the company, that ’owns’ such commedia.
ArscomicA has it own repertoire. It is quite difficult within the general, international context in which it operates, as it requires a constant review and refreshment of the artistic baggage on offer.
Fava’s Pulcinella is based on a repertoire that is constantly growing and improving. It is the cameo of ArscomicA production, the part of the show that ensures continuity to the Renaissance theatre.