Federico Tiezzi – Wikipedia

Federico Tiezzi (Lucignano, 13 December 1951) He is an Italian playwright and playwright, the theatrical director of Italian founded the Criminal Warehouses, and then the Lombardi-Tiezzi Company later.

The origins [ change | Modifica Wikitesto ]

Federico Tiezzi begins to reveal his attitude to the theater very young by exercising on the direction, already at the age of fourteen, with The liar by Carlo Goldoni. Two years later he writes his first theatrical text, inspired by the Assurro Theater. He studies music for a few years. In the years of high school, attended in Arezzo, together with some schoolmates (including Loriana Nappini, who will later take the name of art of Marion d’Amburg, and Sandro Lombardi) founded the Company of the three And he sets up some shows in which he applies, to a mainly literary culture, the methods of Living Theater and Jerzy Grotowski. ^[2]

The tragedy and the Greek comedy (Aeschylus, Sophocles, Euripides, Aristophanes, Menandro) are his constant points of reference together with authors such as Jacopone da Todi, Peter Weiss, Allen Ginsberg, Federico García Lorca, Pier Paolo Pasolini, Thomas Stearns Eliot, Bertolt Brecht.

The first shows (set up between 1968 and 1970) use the texts of these authors within original dramaturgical writings. In addition to dramatic literature, classic cinema (ėjzenštejn, Griffith, Ford, Abel Gance, Murnau) becomes its constant point of reference.

The statement [ change | Modifica Wikitesto ]

In 1970 Federico Tiezzi moved to Florence where he founded the company The wheelchair together with Marion d’Amburg and Sandro Lombardi, who immediately noticed in the context of the contemporary art galleries, such as the Techne Gallery , where the show is presented Death of Francis (1971) o to Scheme Gallery , where he debuts The tired woman meets the sun (1972). The shows are strongly influenced by the Japanese classic theater, Nō and the Indian classic one, Kathakali. Invited by Giuseppe Bartolucci to the I festivals of avant -garde music and new trends, in Salerno, The tired woman meets the sun , with a strong figurative matrix, imposes the company at national level as one of the top experiences of the then nascent Theater-image , which includes directors such as Mario Ricci, Giuliano Vasilicò, Memè Perlini,].

In 1977 he graduated in Florence, with Roberto Salvini, in art history with an iconological research on theatricality in claus sluter sculpture and in the late European Gothic, inspired by Aby Warburg and Erwin Panofsky, two names that will accompany him in the years of his Theatrical research. ^[3]

The analytical-contemporary theater [ change | Modifica Wikitesto ]

After two transition shows The spirit of the garden of weeds , inspired by a clinical case of Ronald D. Laing (1976), e The garden of the paths that biparously , inspired by a story by Jorge Luis Borges, 1976, Tiezzi faces a conceptual research on language, from which shows-manifesto such as Vampire omens (1977), Views of Porto Said-Studi for Environment (1978), Breaking point (1979). In them, contact with the visual arts is evident, in particular body art, conceptual art, minimal art, and relationships with artists such as Dan Flavin, Andy Warhol, Vito Acconci, Alighiero Boetti. Contact with cinema is also evident, through the quote, in the shows, of images and songs of screenplays of directors such as Orson Welles, Michelangelo Antonioni, Jean-Luc Godard, and above all Yasujirō Ozu. These are the years in which, with the company is present in the main European festivals, from Amsterdam to Brussels, from Cologne to Belgrade, from Vienna to Berlin, from Madrid to Paris.

In 1979 The wheelchair ^[4] He wins the Ubu prize for best Italian experimental company, recognition that will be confirmed in 1980.

The metropolitan theater [ change | Modifica Wikitesto ]

Tiezzi’s work subsequently leads to shows openly open to a look at the contemporary: from 1979 is Ebdòmero , taken from Giorgio De Chirico’s novel; of 1980 is Nervous collapse , where for the first time he applies Edward Gordon Craig’s research on the scenic space, while On the road , freely inspired by Jack Kerouac’s novel, he made his debut in Venice for the 1982 biennial-theater.

In 1980 he sets up Ins Null At the Olympic Stadium in Munich, with the participation of Hanna Schygulla. Rainer Werner Fassbinder inserts two regions for The wheelchair , ( Ebdòmero It is Nervous collapse ) in his film Theater in Trance (1981), where there are the most prominent theatrical experiences at the moment ( Squat Theatre , Pina Bausch ), presented worldwide at the Festival dei Popoli in Florence in September 1981.
In 1982 he studied in depth in National Theater of Tokyo The Kabuki Theater, which will be inspired by many shows.

The theater of poetry [ change | Modifica Wikitesto ]

In the mid -eighties he began to theorize and practice a form of poetry theater ^[5] , aimed at combining dramaturgy in verses and scenic writing. This phase initially coincides with the dramaturgical elaboration of a trilogy of written texts and staged between 1984 and 1985: Genet in Tangier (UBU 1984 award for best Italian show), Portrait of the actor as a young man It is Imaginary life by Paolo Uccello, presented, then, in 1985 as part of the Biennale Teatro and in 1986 at the Teater-Dans in Antwerp.

For the Italian theater festival in New York, portrait of the actor as a young man is translated and staged ( Portrait of the actor as a young man ) edited by Columbia University.

In 1987 he brought to the translation and dramaturgy of Franco Quadri, the novel by Samuel Beckett, As is , UBU 1987 award for best direction. In the same year he presented, at the Teatro dell’Opera di Kassel, as the opening of documenta 8 , Antonin Artoud. A tragedy followed by a diptych of texts by the German playwright Heiner Müller: Hamlet It is Medeamaterial , both from 1988.

The classics [ change | Modifica Wikitesto ]

Since 1989 he directed three shows that theatrical comedy has been directed to Prato, theater Metastasio. Entrusts the dramaturgical reworking to three poets: Edoardo Sanguineti (Comedy of Hell, 1989), Mario Luzi (Il Purgatory, 1990) and Giovanni Giudici (Il Paradiso, 1991). In 1990 he resumed Hamlet for the Teatro Taganka of Moscow and for the Tokyo Theatre Festival .

The subsequent works enroll in the context of a modern re -appropriation of the classics: from 1989 it is waiting for Godot by Samuel Beckett for the Stable theater of Palermo; In 1991 he signed for the Theater of Rome , Adelchi by Alessandro Manzoni. In 1992 he made, for the Bresciano Theater Center , The match of Samuel Beckett.

The musical theater, Testori, Pasolini and Luzi [ change | Modifica Wikitesto ]

Since the beginning of his work he has been fascinated by the musical theater: from 1976 he is a collaboration with Azio Corghi for Touch all’ Autumn musical of Como. He continues working with musicians such as Brian Eno, Jon Hassell, Giancarlo Cardini. In 1992 Salvatore Sciarrino made up the music for a new edition of Dante’s Paradiso al Ravenna Festival , and two years later Giacomo Manzoni elaborates the score for a new Nell by Dante. Begins in the lyric direction with a very appreciated Norma (1991) at the Petruzzelli Theater in Bari with the scenes of the painter Mario Schifano, to whom they will follow The Traviata at the Pergolesi Theater in Jesi (1992), and The Barber of Seville For the Municipal Theater of Messina and La Fenice of Venice.

In recent years, some Italian painters and architects, such as Mario Schifano, Alighiero Boetti, Alessandro Mendini, has as collaborators.

In 1994 he stages, with amazing success, EDIPUS by Giovanni Testori ^[6] (Ubu prize for best direction and as the best male interpretation to Sandro Lombardi); and then arrives at the Pasolini theater with Porcile .

Of March 1995 is the direction of Carmen by Georges Bizet for the Teatro Comunale of Bologna, and of the following June, for the 58th May Florentine music, that of Happiness troubled , a text by Mario Luzi dedicated to the sixteenth -century painter Pontormo, with original music by Giacomo Manzoni.

In 1997 he opened the lyrical season of the Rome Opera Theater with The Sicilian Vespers by Giuseppe Verdi. Then realizes In the city jungle by Bertolt Brecht, whose translation also takes care of.

Still in 1997 is the direction of Madama Butterfly by Giacomo Puccini for the Vittorio Emanuele Theater of Messina; and that of Natural absolute by Goffredo Parise, with Sandro Lombardi and Sabina Guzzanti.

Shakespeare, Guilds, Bernhard [ change | Modifica Wikitesto ]

In 1998, with the show Scenes by Hamlet I , created for the Fabbricone Theater in Prato (Ubu prize for the best direction) signs the opening of a new work phase. Tiezzi dedicates two other shows to the Scespiriano masterpiece ( Scenes of Hamlet II , 1999, and Scenes by Hamlet III , 2000), followed by the direction of the Amleto in December 2002. Meanwhile, with Cleopatràs , 1996, and Due Lai , 1998, continues the happy work on the work of Giovanni Testori, of which in 2001 he also stages L’AMBLETO . The shows that lead to the rediscovery of this author are created in collaboration with Sandro Lombardi.

Uncle Vanja by Anton Čechov debuts in October 1999 in Venice for the Biennial-theater with the curtains of Giovanni Frangi. And in the same year Tiezzi made a Madama Butterfly for the Teatro Regio in Turin.

In 2000 he is busy with Didon ed Aeneas by Henry Purcell at Festival Monteverdiano of Cremona, then resumed at the Maggio Musicale Fiorentino. Following The sleepwalker by Vincenzo Bellini for the Teatro Comunale of Florence. Also in 2000 he made his debut with a text by Thomas Bernhard, The appearance misleadings , Ubu award for best direction. In 2004 he took care of the Sofocle Antigone by Bertolt Brecht who concludes his tour in Berlin, Berliner Ensemble, for the fiftieth anniversary of the death of the Augusta playwright; and of Terrestrial and celestial journey by Simone Martini by Mario Luzi, in Siena, on the occasion of the poet’s ninetieth birthday. In 2003 he made The clemency of Tito by Mozart for the Maggio Musicale Fiorentino.

The theatrical season of the Verdi Theater in Trieste opens in October 2004 with the direction of The Ekebu’s knights by Riccardo Zandonai.

In all these years Tiezzi’s work has gone – both in classical and modern dramaturgy, and in lyric – more and more towards figurative abstraction, in a constant relationship with the visual arts and music; towards the search for an emotional space, which allows him more to isolate and deepen the characters, acting (of singers and actors) dramatic situations and music, in all the fullness of their meaning; towards a pedagogy of the actor who combines tradition and contemporaneity. And precisely in the lyric direction he experiences new recitative and interpretative forms borrowed from the continuous laboratory research characteristic of his theatrical performances.

He gave it to wagner [ change | Modifica Wikitesto ]

Of March 2005 is his first Wagnerian direction with Valchiria, al San Carlo Theater of Naples with the scenes of Giulio Paolini and the costumes of Giovanna Buzzi.

In June 2005 he set up, again for the San Carlo of Naples, the Trovatore, later taken up in Tokyo and Osaka. In November he realizes Birds by Aristophanes, Ubu prize for best show, while in January of the following year he made his debut in Trieste on Don Quichote by Jules Massenet and in September, in Livorno, Iris by Pietro Mascagni. And with Andrea Chenier by Umberto Giordano al Bellini Theater of Catania in April 2007. In November of the same year he presented to ARGENTINE THEATER of Rome, the giants of the mountain of Luigi Pirandello and opens the season of San Carlo Theater of Naples with Parsifal by Richard Wagner, welcomed by great success. In April 2008 he sets up to Municipal theater of Bologna, standard of Vincenzo Bellini. In autumn 2008 he made his debut with Passage in India by Edward Morgan Forster (taken from the Forster novel of the same name), to whom he enters a lucky and very long tour. Of the spring of 2009 is Mother by Bertold Brecht, from the novel by Maksim Gor’kij; in the autumn he made his debut The happy widow by Franz Lehár for the Verdi Theater of Trieste and for the San Carlo Theater of Naples.

From 2007 to 2010 he was the artistic director of the Metastasio Theater Foundation of Prato – Stable of Tuscany. ^[7]

He creates in the autumn of 2009 Simon Boccanegra by Giuseppe Verdi at State Opera of Berlin, with Plácido Domingo in the main role and direction of Daniel Barenboim. Later he creates with a company of young actors scenes from Romeo and Juliet for the space of Fabbricone Theater in Prato.

Years 2010 [ change | Modifica Wikitesto ]

The new setting of the Simon Boccanegra at the Teatro alla Scala in Milan with the scenes of Pierpaolo Bisleri and the costumes of Giovanna Buzzi and the lights of Giovanna is from the spring of 2010

Marco Filibeck. In October 2010 he made his debut at Piccolo Teatro from Milan, The promised spouses to the test by Giovanni Testori.

In 2011 after Parsifal at Richard Wagner Al Royal Theater of Turin, sets up at the Petruzzelli Theater in Bari to the first absolute The same sea , a work by Fabio Vacchi on a booklet by Amos Oz (from the novel of the same name) with the prestigious scenes of Gae Aulenti.

Between 2012 and 2014 Tiezzi is busy with The happy widow by Franz Léhar at the Filmonic Theater in Verona, at the San Carlo Theater in Naples and at the Carlo Felice Theater in Genoa.

Also in 2012, the project begins on Search for lost time by Marcel Proust, with A love of Swann. In 2013 he made his debut It is not known how by Luigi Pirandello at the Teatro della Pergola in Florence, in 2014 The return of Casanova by Arthur Schnitzler, at the Bargello National Museum.

In May 2015, signature Ifigenia in Aulis of Euripides, within the 51st cycle of classic representations at the Greek theater in Syracuse.

In January 2016 he made his debut at the Piccolo Teatro in Milan This evening it is recited to the subject by Luigi Pirandello, with Luigi Lo Cascio protagonist; And in April of the same year he made his debut at the Argentina theater, with the production of the Rome theater, Calderón by Pier Paolo Pasolini, protagonist Sandro Lombardi. The show wins the Ubu prize for the 2016 miles. In the same year, the Simon Boccanegra by Giuseppe Verdi at the Teatro alla Scala in Milan; This lucky layout is further taken at the Bolshoi Theater in Moscow, with the direction of Myung-Whun Chung. The Muscovite audience decrees great success to the show.

In 2017, the Site-Pecifica de setting Miss Else by Arthur Schnitzler, debuts in the seventeenth -century anatomical theater of the Spedale del Ceppo di Pistoia, and continues, the following year, with a tour by touching, among others, the Museum of the Specola (Florence), Piccolo Teatro Studio Melato (Milan), Theater of Villa Torlonia (Rome) and the Anatomico Theater of Bologna. ^[8]

Of January 2018 is the direction for the Piccolo Teatro in Milan of Freud or the interpretation of dreams by Stefano Massini, dedicated to one of the capital books of the twentieth century, with Fabrizio Gifuni and Elena Ghiaurov; of February is the co -production with the Rome theater of Antigone of Sophocles, directed by which he is awarded the Flaiano Prize on the occasion of the Flaiano 2018 prizes. ^[9]

In 2019 he sees the light Scenes yes Faust by J.W. Goethe, co-produced by the company he directs and by the Metastasio theater of Prato.

Premio now

1986/1987 – Best direction for As is di Samuel Beckett

1993/1994 – Best direction for EDIPUS by Giovanni Testori e Porcile Of Pier Pa Paolo Pasolini

2000/2001 – Best direction for Scenes of Hamlet by William Shakespeare e The appearance misleadings In Thomas Bernhard

2005/2006 – Best show and best direction for Birds by Aristophanes

Flaiano Award Section Theater ^[ten]

2018 – Royal Award for Antigone of Sophocles

• Quaderni of the Techne Center, edited by Eugenio Mricini, Florence, January 1970
• Crazzone, n. 1, edited by Franco Quadri, Milan, 1978
• Criminal warehouses n. 2, edited by Franco Quadri, Florence, February 1979
• The pathologist Uno, edited by Franco Quadri, Milan, the Map – Ubolibri, 1979
• Patalogue Due, edited by Franco Quadri, Milan, Ubolibri, 1980
• Rossella Bonfiglioli, Barbaric frequencies , Florence, the Usher house, 1981
• Criminal warehouses n. 5, edited by Franco Quadri, Milan, spring 1982
• Criminal warehouses n. 6, Milan, Ubolibri, June 1983
• Warehouses warehouses n. 7, edited by Gianni Manzella with the collaboration of Oliviero Ponte di Pino, criminal warehouses & Ubolibri, Florence – Milan, April 1984
• Warehouses warehouses n. 8, edited by Gianni Manzella, Milan, Ubolibri, April 1985
• Criminal warehouses, Birth of vision , the Coceance of Gianneau Manzella, Salerno, Restonne 685
• Franco Bolelli (edited by), Art of the Environments, Milan, Politi, 1986
• Federico Tiezzi, Memory loss , Milan, Ublibri, 1986
• N.9 warehouse notebooks, edited by Franco Quadri, I Warehouses & Ubolibri, Florence – Milan, January 1987
• Guido Davico Bonino (edited by), Identikit of the Italian actor , Torino, Rosenberg & Sellier, 1990
• The pathologist n. 15, edited by Franco Quadri, Milan, Ubolibri, 1992
• Mario Luzi, Happiness troubled , Milan, Garzanti, 1995
• Roberto Canziani (edited by), Dedicates the warehouses to the theater company , Provincial Association for Prose, Pordenone, 1997
• Mario Luzi, Via Crucis at the Colosseum , Brescia, the oblique, 1999
• Giovanni Agosti, For Sandro Lombardi who is about to play Uncle Vanja , in the catalog of the Biennale – Teatro, Venice, 1999
• Sandro Lombardi , interview by Andrea Nanni, in “Front Fila”, March 2002
• Sandro Lombardi: My Testori , interview by Gerardo Guccini, in “Test of dramaturgy”, year VIII, n. 1, July 2002
• Interview with Sandro Lombardi , interview by Francesco Scarabicchi, in “Our Monday”, n. 1, October – November 2002
• Sandro Lombardi , interview by Luca Nannipieri, in The actor and poetry , Bologna, Pendragon, 2003
• Spaces of the scene, of memory, of the present: conversation with Sandro Lombardi. Edited by Renzo Guardienti, in “dramaturgy”, n. 10, 2003
• Mario Luzi, Self -portrait , Milan, Garzanti, 2007
• Francesco Niccolini, Next time , Corazzano (Pisa), Titivillus Edizioni, 2004
• A world that was not there: the actor’s work , Sandro Lombardi interviewed by Concetta d’Angeli, in “Acts and Sipari”, n. 0, Pisa 2007
• The excited body of the spectator , edited by Laura Mariani and Maria Nadotti, in “tests of dramaturgy”, year cvi, n. 2, December 2010
• Sandro Lombardi: more moon than sun , by Silvia Cosentino and Francesco Zavattari, in “Fullmagazine”, October 2011
• Leonardo Mello (edited by), Tiezzi according to paintings, Ublibri, 2017