BLUE NEW 31_215x270 - Blue Liguria - Sagep

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sì cominciamo a fare riduzioni
teatrali dai testi letterari. Diventa
la nostra caratteristica. Nel
frattempo i Broncoviz si sono
sciolti, ma hanno continuato a
lavorare singolarmente con il
Teatro dell’Archivolto che dal
1997 è diventato Stabile con sede
al Modena di Sampierdarena.
Accanto a me la direttrice Pina
Rando, la nostra testa organizzativa.
Unica. Ci lega un sodalizio
antico e affettuoso.
Fate spesso teatro civile, politico.
E piace molto.
Cerchiamo di capire e poi raccontare
come noi stessi e la so-
for five? I found The Bar Under the
Sea by Stefano Benni, with
differing tales, each with its own
interpreter. It was ideal. Benni
introduced us to Pennac, and so we
began to do theatrical reductions
of literary texts. It became our
trademark. In the meantime, the
Broncoviz dispanded, but they
continued to work singly at the
Theatro dell’Archivolto which in
1997 became part of the Teatro
Stabile but located at the Modena
theatre in Sampierdarena. Working
alongside me was director Pina
Rando, our organizational head.
She is unique.
Giorgio Gallione ritratto
insieme a Daniel Pennac
sul palco del Teatro Modena,
negli anni Novanta. 59 anni,
Gallione è direttore artistico
del Teatro dell'Archivolto di
Genova dal 1986
Giorgio Gallione shown
together with Daniel Pennac
on the stage of the Teatro
Modena in the nineties.
59, Gallione is the artistic
director of Archivolto
in Genoa since 1986
Photo Terrile
You often do theatre with a civil,
a political bent. And it is very
successful.
We try to understand and then tell
of ourselves and of the society that
we are changing. We find Marco
Paolini and Stefano Benni
interesting just because they speak
of today. The public responds
immediately to this. And it is
booming not just in our theatre.
Apparently today we meet a need
that was and still is felt.
You are no longer doing TV, but
you are still keeping up with
your love for opera which
brought you to the Scala, the
Royal Residence in Parma, the
Arena di Verona with works by
Glass, Rota, Bernstein.
The Teatro dell’Archivolto needs
lots of attention. But it guarantees
total independence for me, which
is something that television does
not allow much of. My love for the
opera instead has always stayed
with me, even if it has been in a
certain sense, induced – since the
beginning of my career in our
shows we have always used a lot of
music. The Broncoviz were all
musical, and they were
contaminated with music in
keeping with the times. So for
years now they come to me with
music from the XX century, and I
like that. I have even directed two
ballets: one on Dylan Dog and the
other on Corto Maltese.
Your works which you have
loved the most?
Two represent crucial points in my
career. The first show at the
Archivolto, Gli accidenti di
Costantinopoli, by Goldoni, showed
us that we could do it. And then in
1997, Malaussène by Pennac,
which then went on to the Festival
of the Two Worlds in Spoleto, was
another turning of the page. But I
love my work. I would redo
everything with Benni, Pennac, and
Serra as friends and maestros.
Maybe this time without any
inevitable errors.
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