Dramaturgy

The challenge of staging the multilayered libretto with its variety of characters was to achieve a linear narrative.

The action and dialogue are concentrated as much as possible in the dramatic circle (Augusta scena), which was common in the performance of Commedia dell'arte. This creates intimacy with the audience as well as the actors and singers, allowing for more nuance.

The backdrop, with its constant reminder of the journey towards truth, is like a wall that echoes the action but also literally has the function of acoustical projection. The low-profile set changes remind the viewer of ad hoc theatre settings, as usual for the travelling comedians.

The flexibility allows fluid transitions of the intertextual scene changes like the 'opera in opera' scenes of Orfeo and Dafne, or the independent Commedia dell'arte scenes of Arlecchino and Gianni, as well as L'Idropica.

Interview with Nynke van den Bergh

(in Dutch)

Stage Sets

 As in Greek theatre, the basic design of the stage set is with a (play) circle in the middle.

- Left is the Hades with the Spirits (Comici Fedeli)

- Right are the Allegories on their thrones. 

The front stage is the orchestra and Monteverdi with his table, to write letters or music.

Stage back drop with the Labyrinth of Crete and in the centre the Minotaur. Ariadne's red thread is woven in the curves.

© Manuel Wittaszcheck

Verità (Arianna) with the Bocca della Verità - 'The Mouth of Truth', in the centre of the back drop.

Chosen instead of the Minotaur because this is the journey of Monteverdi's labyrinth.

Orpheus turning his head to Eurydice.

© Manuel Wittaszcheck

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Thrones for the Allegories, with Gonzaga eblemata.   © Manuel Wittaszcheck

Damien Hirst

Treasures from the Wreck of the Unbelievable

 Exposition Venice, August 2017. 

Statue of a woman laid to rest.

Claudia Monteverdi - First scene 'cadavero infelice' 

Costume for Claudio Monteverdi.

© Manuel Wittaszcheck

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2 May 2017

Auditions in Venice at the Academia Teatrale Veneta for the roles of Comici Fedeli.

Scene with the Spiriti and letters. (concept Jos Groenier)

13 April 2018

Rehearsing the opening scene of La Tragedia di Claudio M,

with stage director Nynke van den Bergh.

Leather Minotaur mask hand made in the traditional way by the Acadmia Teatrale Veneta.

Minotaur mask used in a Commedia dell'arte performance.

Left. Gambling machine in the bar da Niki e Lela near the rehearsal location in Giudecca, Venice. April, 2018.

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Etienne Delaune 

Apollo killing the dragon.

mid 16th century.

 12 April 2018

Rehearsal in Venice by the actors of the commedia dell'arte group.

I Comici fedeli are creating the scene of Apollo and the dragon for the pantomime that was introducing the story of Dafne.

Opening scene of  the Dafne pantomime by I comici fedeli. 

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Dafne's metamorphosis into a laurel tree.                © Manuel Wittaszcheck

Creation of the laurel tree by Saskia de Korte

Rehearsal of drunken Arlecchino and Zanni with the tree.

Sketch End of Act II - Johannes Boer

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rehearsal for L'Idropica