Viva Lewes Issue #144 September 2018

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ON THIS MONTH: TALK Augusto Corrieri The magic of theatres What does a magician write about when he writes about the theatre? If you went to Edinburgh in August you might have seen Vincent Gambini performing a post-modern conjuring show at the Underbelly. Gambini’s real name is Augusto Corrieri, he’s a lecturer at the University of Sussex, and he’s doing a performance at ACCA this month based on his book In Place of a Show, which asks the question: ‘what happens in theatres when nothing is happening’. “Fact or fiction?” I ask him, down the phone, having spent a couple of days with the book, in which Corrieri examines four different theatres which, in one way or another, aren’t what they used to be. “It’s kind of activated imagination,” he tells me, citing the first of four buildings he examines, the Munich Cuvilliés-Theater, whose rococo interior was taken away during the war to save it from the Allied bombing raids which later destroyed the rest of the building. Then, in a kind of reverse ‘now you see it now you don’t’ it was rebuilt as an exact replica in the same spot in 1951. Or so Corrieri tells us in the first chapter. In the second, he reveals this “idea of the theatre that refused to go away” to be a popular misconception, spread by propagandists. It was actually restructured in a different space: a modern theatre had by then been built where it used to stand. A sleight of hand, then. Corrieri then leads us a merrily erudite dance round three other theatres. First it’s the Dalston Theatre, torn down before he moved to the area in 2007, where he sat for hours a day looking at the space where the stage used to be (by then a Starbucks). Next up the Teatro Olimpico in Vicenza, built four hundred-odd years ago by Palladio, hardly used since, and inhabited by a sole swallow. And, finally, the Manaus Opera House, built in the rainforest during the brief Brazilian rubber boom, and since, he’s told by a tour guide, used as a football pitch, and a car showroom. Or was it? Along this twisting way he peppers us with thoughts on the theatre by the likes of Calvino and Kafka, Borges and Barthes, while increasingly bringing himself into the narrative. But does he tell it like it happened? “The order of things is different and certainly the discoveries I made along the way are entirely edited, amplified, taken away and made to look like this one smooth event,” he says. So that’s how the magic happens. After a two-year hiatus, Corrieri is reprising his show at the Attenborough to coincide with the release of a new paperback version of the book. He held the launch of the hardback in the same space two years ago, though he didn’t attend it. Neither did anyone else, for that matter: the theatre was closed down for an hour and invitees were asked to stay where they were and imagine being at the party. Alex Leith ACCA, 27th September, 7pm, £5/3 45
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Page 39 and 40: ON THIS MONTH: CENTENARY Danny Hous
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Page 54 and 55: 128mm x 94mm Viva Brighton and Lewe
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Page 58 and 59: EVENTS DJ YODA Saturday 1 September
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Viva Lewes Issue #144 September 2018

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