la verità - Festival

LA VERITÀ
PROGR AMME
LA VERITÀ
B A R & R E STAU RANT
WRITTEN AND DIRECTED BY DANIELE FINZI PASCA
Compagnia Finzi Pasca — Switzerland
Wed 2 — Mon 7 Mar | St James Theatre | 2hrs 5mins (inc 20min interval)
PART NERED BY
Our Dalí Inspired dinner with
some recipes from his cookbook
Les Diners De Gala
It will be an evening of sumptuous
pleasure both culinary and visual
with a good measure of fun.
8TH MARCH, 6PM
4 COURSE DINNER
$89 PER PERSON
5 Cable St Wellington CBD
[email protected]
@ stjohnsbar
/stjohnsbarwgtn
COVER IMAGE: VIVIANA CANGIALOS
Salvador
DalÍ
Inspired Dinner
A message from the
New Zealand Festival
A message
from Fletcher
Nau mai haere mai ki te Taurima o Aotearoa.
Each Festival we present extraordinary
experiences that would otherwise not be seen
in New Zealand. From the oldest living culture in
the world to artists at the forefront of
cutting-edge arts practice, the three weeks of
the Festival give you a chance to be reminded
of how the art instinct has always been a part of
human existence. Daniele Finzi Pasca’s response
to the life and work of Salvador Dalí is a delight
and I’m thrilled to welcome his company to
Wellington. This work is a homage to art –
and to not taking anything
too seriously. Enjoy.
Fletcher is pleased to partner with the 2016
New Zealand Festival to bring to Wellington a
spectacular show that combines surreal dreams
and a heady mix of movement and music. This
combining of ideas with Swiss precision in
realising those concepts is also fundamental to
our business. Fletcher delivers concrete reality,
but we are inspired by the dreams of our clients
and their designers. From museums to stadia,
apartment blocks to office towers, wharves to
warehouses, roading to historic restorations,
Fletcher has worked collaboratively with
visionaries for nearly a century, to create a
world-class capital city. We, too, deliver the
seemingly impossible.
Shelagh Magadza
Artistic Director
Graham Darlow
Chief Executive, Construction
Fletcher Building
Please make sure your mobile phone is turned off. Latecomers will only be seated during an
appropriate break. Taking photographs and using a recording device at any Festival performance
are strictly forbidden. Ticket holders consent to be filmed as part of the audience. The information
in this programme is correct at the time of publication. The Festival reserves the right to alter,
without notice, events, programmes and artists.
Tell us what you think of the show
NZFESTIVAL
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Fletcher turns the dreams
and visions of its customers
and their designers into
concrete reality.
CREDITS
Author, director, lights and
Researcher
Head of sound and video
choreography co-design
Facundo Ponce de León
Fabio Lecce
Daniele Finzi Pasca
Creator of
Head of light
Creative director, producer
choreographic sculptures
and participation in writing
Toni Vighetto
Gonzalo Soldi
Julie Hamelin Finzi
Music, choreography
co-design and sound design
Maria Bonzanigo
Set and props
Hugo Gargiulo
Executive producer
Mariève Hémond
Carré choreography
Annie-Kim Déry
Cyr wheel inventor
Daniel Cyr
and artistic consultant
Artists
Antonio Vergamini
Moira Albertalli,
Erika Bettin, Jean-Philippe
Cuerrier, Stéphane Gentilini,
Andrée-Anne Gingras-Roy,
Evelyne Laforest, Francesco
Lanciotti, David Menes,
Marco Paoletti, Felix Salas,
Beatriz Sayad,
Rolando Tarquini
Costumes design
Giovanna Buzzi
Lights co-design
Alexis Bowles
Video design
Roberto Vitalini –
bashiba.com
Assistant to the director
La Verità Image: Viviana Cangialosi
Carré creator
Geneviève Dupéré
Make-up and hair
Chiqui Barbé
Director of production
Marc Laliberté
Artistic consultant
Sponsors
Grand Hotel Villa Castagnola,
Cornercard, Orchestra
della Svizzera Italiana (OSI),
Radiotelevisione Svizzera (RSI),
La Place des Arts, Maison de
la Culture de Nevers et de la
Nièvre, Scène Nationale de
Bayonne – Sud Aquitain, Città
di Lugano, Canton Ticino, Pro
Helvetia, Caffè Chicco d’Oro,
Fidinam, Ernst Göhner Stiftung
and Sintetica – Research
Partner
©Salvador Dalí,
Fundación Gala-Salvador Dalí
Stage manager
Andrea Caruso Satumino
Tour manager
Allegra Spernanzoni
Stage hand
Nicolò Baggio
Head rigger
Jens Leclerc
Fabrizio Arigoni
26 FEB - 20 MAR 2016
Proud supporter of the New Zealand Festival.
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DIRECTOR’S NOTE
We argued for a while, trying to convince
them with our little lighting layout plan that we
would have to be moving some of the damned
spotlights; a whole fight over great systems,
originality, practical things and finally,
when all the arguments had been exhausted,
we talked about verisimilitude. In the realm of
theatre people, the more abstract the subject,
the more captivated we tend to be, and we end
up feeling like family, as if we
were all cousins.
I asked many connoisseurs of Salvador Dalí the
same question: are Dalí’s landscapes set in the
nighttime or daytime? The answer: neither –
Dalí’s images belong to another dimension,
that of dreams.
a challenge; immobility, absence,
an inert body. To play dead we have to invent
a trick. We will hardly find actors willing to be
actually killed for every performance, but let’s
suppose we could. Our great finding would be
that an actual dead person onstage would not
even seem real. We tried with real blood, a pig’s
heart. Onstage, they won’t look real. The red we
got from beetroot was more convincing...
blood red from beetroot was more real
than real blood.
The language of acrobatics, of physical theatre,
may easily conquer that territory, the territory
where it is neither night nor day, where light
doesn’t touch reality but designs it, invents it
or reinvents it. The language of the acrobats
titillates our unconscious,
making us see inner landscapes that appear
truer than reality.
Five years ago, I was teaching a class on the
concept of “the real” onstage. I began with a
little practical exercise, which is also a general
reflection about my way of conceiving theatre:
how does one die onstage? To play dead is quite
IMAGE: VIVIANA CANGIALOSI
The first time I performed our show Icaro in
Asunción, Paraguay, we could not move the
stage lighting around in the theatre. Everything
had been placed according to the needs of any
theatre show. Four effects, only the necessary
ones: daytime interior/nighttime interior,
daytime exterior/nighttime exterior.
With those we could perform any show...
In the 1940s, Dalí was working on the ballet
Tristan fou (Mad Tristan) and in New York he
painted a very large scrim: a huge thing of
exquisite beauty. A European art collection
called us on Christmas Day two years ago to
offer it for us to use in a show. It’s enormous
and beautiful. Breathtaking.
Older actors won’t play near a horse onstage.
They hate to share the boards with an animal.
They know very well that if there is a horse on
stage the whole audience will be looking at
the horse, and they can do all the emotional
gymnastics they want beside it but the calm
splendour of the animal will always catch the
eyes of the audience. I have been working
for a while with very special performers.
They are all horses. There is a strange
magnetism to them, a delicate strength
that comes from their lightness.
You keep asking whether they are actors,
acrobats, clowns or musicians. The answer is
they are horses. In La Verità, 12 horses and
seven technicians – conjuring Dalí’s dreams.
Daniele Finzi Pasca
February 24 2012
©Salvador Dalí, Fundación Gala-Salvador Dalí
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COMPAGNIA FINZI PASCA
IMAGES: VIVIANA CANGIALOSI
Pictured from left, Daniele Finzi Pasca, Julie Hamelin Finzi, Maria Bonzanigo,
Hugo Gargiulo and Antonio Vergamini
Compagnia Finzi Pasca is a structure
created in 2011 by Antonio Vergamini,
Daniele Finzi Pasca, Hugo Gargiulo,
Julie Hamelin Finzi and Maria
Bonzanigo (in alphabetical order).
In this adventure converge the stories of
previous companies Teatro Sunil and Inlevitas.
It is driven by the desire to develop artistic
projects that continue to broaden the “Theatre
of the Caress” spectrum, a theatrical technique
based on the invisible gesture and the state of
lightness.
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Over the years, these concepts have put forth
a unique aesthetics found in every dimension:
a singular creation and direction style,
a particular method of conceiving productions,
a training philosophy for the actor, acrobat,
musician, dancer and technician, as well as a
way of inhabiting space in order to retrieve the
memory that conveys nostalgia and stirs.
The poetic gesture of the clown intended
as a monologue for a single spectator or an
Olympic ceremony; for theatre, dance, opera
and cinema: everything is combined within
Compagnia Finzi Pasca.
INTERNATIONALLY TOURING SHOWS
La Verità (2013)
Donka – A Letter to Chekhov (2010)
Brutta Canaglia la Solitudine
(original version 1999, Spanish version 2013)
Icaro (1991)
Bianco su Bianco (2014)
DANIELE FINZI PASCA-DIRECTED
OPERAS NOW PART OF
THE REPERTORY
L’Amour de loin (2009)
Aida (2011)
Pagliacci (2011)
Verdi’s Requiem (2012)
Since 1984, Compagnia Finzi Pasca’s founders
have been behind more than 35 creations where
theatre, circus, dance and music
meet, including:
• Closing ceremony of the Winter Olympics and
opening ceremony of the Winter Paralympics
in Sochi, Russia (2014)
• Closing ceremony of the Turin Winter
Olympics (2006)
• Corteo for Cirque du Soleil (2005)
• Sky Trilogy for Cirque Éloize (2002–2011)
UPCOMING
2019 Winegrowers’ Festival of Vevey,
Switzerland, an event every 25 years that
attracts hundreds of thousands of people.
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BIOGRAPHY
CRE ATIVE PARTNERS
DES TINATION PARTNERS
ENG AGEMENT PARTNERS
E XPERIENCE PARTNERS
INNOVATION PARTNERS
L E ADER
L E ADER
L E ADER
L E ADER
L E ADER
AC T IVATOR
AC T IVATORS
AC T IVATOR
AC T IVATORS
AC T IVATOR
DANIELE FINZI PASCA
(Lugano, Switzerland)
La Verità author, director, lights and
choreography co-design
SUP PORT ERS
SUP PORT ERS
SUP PORT ERS
In 1983, Daniele Finzi Pasca co-founded
Teatro Sunil with Maria Bonzanigo and his
brother Marco. He created and directed
some 20 shows with the company,
including Icaro, a monologue imagined for
a single spectator. Interpreted by Daniele
himself in six different languages over 20
years, Icaro has toured the world and been
performed more than 700 times.
For Cirque Éloize (co-founded by his wife
Julie Hamelin Finzi), Daniele created the
Sky Trilogy (2002–2011). In 2005, he wrote
and directed Cirque du Soleil’s Corteo,
which has been seen by over eight million
people. Daniele created and directed
the closing ceremony of the Turin Winter
Olympics (2006).
SUP PORT ERS
SUP PORT ERS
Tour ism Par t ner
Venue Par tner
Daniele co-founded Compagnia Finzi
Pasca in 2011, uniting Teatro Sunil
and Inlevitas.
In 2012, Daniele was awarded the Hans
Reinhart Ring, the highest distinction of
Swiss theatre, in recognition of his lifelong
contribution to the performing arts.
La Verità premiered in Montreal in January
2013. In 2014, he created and directed the
closing ceremony of the Winter Olympics and
opening ceremony of the Winter Paralympics
in Sochi, Russia. He also wrote and directed
Bianco su Bianco for Compagnia Finzi Pasca
and wrote NUDA, his first novel. In December
2015, Daniele was director and light designer
of Carmen at Teatro San Carlo.
The same year marked the completion of
several opera projects, including Aida at
the Mariinsky Theatre in St Petersburg and
Pagliacci in Naples at Teatro San Carlo.
Among other projects, Daniele is currently
working on the new tour show of Cirque du
Soleil, while still performing Icaro around the
world and working on his first movie.
In 2009, with Julie, he co-founded Inlevitas,
whose first project was Love from Afar for
the English National Opera. In 2009–2010,
Daniele wrote and directed Donka – A Letter
to Chekhov.
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CORE PARTNER
CORE FU NDER
MA JOR GR ANTS
ACCES SIBILIT Y PARTNERS
E VENT PROGR AMME PRINT PARTNERS
CORP OR ATE PATRONS
Air New Zealand, BERL, Building Solutions, Craigs Investment Partners, Deloitte,
JacksonStone and Partners, L’affare, Leuthart + Co, Primeproperty Group.
With special thanks, too, to all our
International Partners, Grant-givers
and many individual Patrons.
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ARTISTIC DIRECTOR:
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