Monday, 15 July 2019 14:11

Adriatico Blues, 2019

Adriatico Blues is a picturesque bar above the sea, dragged by underground currents, hidden in the maze of our memories; it is a magical hat from which a bit of everything jumps out, a fun work open to various solicitations, conceived and directed by Massimo Navone. It starts from Trieste with the declared intention of welcoming, in the path that will follow the voices of the Adriatic here and there, the sea from the shores facing each other, shores that can be seen when the skies are clear and the air is clean, that same air that you breathe and feel on the skin after every great storm, generated from the furious but healthy dark Bora wind.

Monday, 15 July 2019 13:27

Goodbye Diabolik, 2018

The show, directed by Massimo Navone, is set in the old office of the Astorina, the Milanese publishing house where Diabolik's comic was conceived.

In a Hopperian atmosphere, in which an apparent dull daily event reaches a surreal dimension, the human side of Diabolik bursts into the reality of one of its creators, claiming its freedom and that of his future together with Eva Kant.

Friday, 17 November 2017 15:09

Alcool, 1998

There is no translation available.

testo in allestimento_text under construction

Tuesday, 14 November 2017 11:23

Il presidente Schereber, 1990

There is no translation available.

testo in allestimento_text under construction

Wednesday, 11 October 2017 15:06

The Pride, 2015

There is no translation available.

I comportamenti individuali e sociali dei protagonisti omosessuali vengono esplorati sotto la luce di due diverse epoche a distanza di cinquant’anni: gli anni ‘50 e i nostri giorni (2015), suggerendo la persistenza di alcuni aspetti del passato nella condizione attuale. La scenografia riflette questo confronto, che è piuttosto serrato, dato che i passaggi fra un’epoca e l’altra si susseguono per ben nove volte durante lo spettacolo. Due salotti inglesi, uno anni ’50 e uno contemporaneo si alternano nella scena, lasciando sempre trasparire parti del passato. Un parco notturno e misterioso, lo studio di uno psichiatra e quello di un editore completano gli ambienti necessari al racconto.

Monday, 04 September 2017 14:51

Miss Else, Modena, 1986

The result of an empathy with the director, in just three months it was possible to deny the temporal place of the play. An ageless technological wall, summing up different eras, blocks the proscenium. Together with Bagnoli, the lighting designer, we placed the controls within the technological wall, together with the tecnhnicians operating them. This  choice is linked to a reading of the text that interprets the whole story as a fantasy of Else, as if everything that surrounds her is only the fruit of her imagination. Therefore a non-place.

Monday, 04 September 2017 14:46

Returning home, Florence, 1982

"Low middle class" inglese, questo diceva la "didascalia". Ricostruita fedelmente con un occhio a Napoli, accompagna una grande messa in scena di Carlo Cecchi, con un forte sapore anglo/napoletano.

Monday, 04 September 2017 14:39

The Pelican, Florence, 1981

I was provoked into creating this scene which was also the start of my activity as a set designer. The director, Alberto Rosselli, imagined places that would lead to a feeling of compression and restlessness, to render Strindberg's text in spatial terms. The characters are forced by inner paths, made physical by the scene / labyrinth that almost shows the public their secrets. This labyrinth is the metaphor of all their family relationships, of the changing hierarchies. The 40 sqm sloping platform acts as if it were a space, a single space, which expresses the relationships between the characters.

Thursday, 20 July 2017 14:43

Pur vivendo sulla terra, 1987

The dryness of Mayakovsij that can be found in this skeleton of a lifeboat, of a boat. A man and a girl at the wheel, rotating the hull.

Thursday, 20 July 2017 14:37

Ser Marcantonio, 1999

This opera, which preceded Don Pasquale, needed numerous scene changes. We hypothesized that the actor-singers sat outside a curtain acting as spectators, in order to facilitate the various  scene changes. All framed by the stage curtain in front of which the singers perform while waiting.

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Chronology of the scenic design 
2019 - scenery and costumes for Adriatico Blues, directed by Massimo Navone, Teatro Miela, Trieste
2018 - scenery and costumes for Goodbye Diabolik, by Dominick Tambasco, directed by Massimo Navone, Teatro Bolognini, Pistoia
2018 - scenic design for Sergio Casesi’s  Prigionia di Alekos, directed by Giancarlo Cauteruccio, Teatro della Pergola, Florence
2015 - scenic design for A. K. Campbell ‘s The Pride, directed by L. Zingaretti, with L. Zingaretti, Teatro Argentina, Rome
2012 - scenic design for Ronald Harwood’s  “Ivory Tower”, directed by di Luca Zingaretti, with L. Zingaretti and M. De Frarcovich, Teatro Pergolesi, Jesi (AN) 
2009 - scenic design for Ben Jonson’s  “The Fox”, directed by A. Gagnari, Palazzo del Quirinale, Rome
2006 - scenic design for Trittico Beckettiano, directed by di G. Cauteruccio, Teatro Studio di Scandicci
2005 - scenic design for The bug di Richard Strand, directed by di Massimo Navone, con E. Iachetti, Teatro Carcamo, Milan 
2003 - scenic design for “Ricorda con Rabbia” directed by Massimo Navone, Milan
2003 - scenic design for “Buone notizie” di M.Erba, directed by Massimo Navone
2002 - scenic design for Woody Allen’s “Play it again, Sam” , directed by Massimo Navone with  Enzo Iacchetti, Teatro Manzoni, Milan
2002 - scenic design for Michael Frayn‘s “The Two of Us” , directed by  Massimo Navone, Teatro Franco Parenti,  with Antonio Catania. Milan
1999 - scenic design for Ser Marcantonio di Stefano Pavesi, directed by A. di Bari, Teatro Rossini, Lugo di Romagna
1999 - scenic design for Sophocles’ "Oedipus Rex", directed by Andrea di Bari, Teatro greco, Taormina 
1998 – stage set for A. Schonberg ‘s “Transfigured night”, choreography by Raffaella Giordano, Sosta Palmizi, Teatro Kismet, Bari
1998 - scenic design for A. Asti’s Alcool , with Franca Valeri, Adriana Asti, Paolo Bonacelli, Teatro Comunale, Benevento
1996 - installations for “La Via Francigena” for Regione Toscana and Comune di Monteriggioni, directed by A. Libari, Badia Isola
1992 – scenic design for Franciosa’s “Il giorno della tartaruga”, directed by Saverio Marconi, Compagnia della Rancia, Teatro S. Babila, Milan
1991 - scenic design for Strindberg’s  “Miss Julie”, directed by F. Ambrosini, Cooperativa Nuove Parole, Teatro Piccola Commenda di Milan
1990 - sets and costumes for Mozart’s opera Don Giovanni,  directed by A. di Bari, Ente Teatro Romano, Fiesole, Teatro Verdi, Pisa
1990 - scenic design for Il Presidente Schereber directed by A. Cassin for Mulita Productions, Centro di Pontedera, Teatro di Rifredi, Florence
1990 - sets and costumes for H.M. Enzensberger’s  “Spettatori per un naufragio” , directed by A. di Bari, Teatro di Sardegna, Montalcino
1990 - scenic design for Michele Reverdy’s l’opera Vincent di directed by F. Ambrosini, Ente Lirico di Alessandria, Teatro di Alessandria
1989 - scenic design for Majakovskij’s  “Heresy of Happiness”“La felicità non ha fine” directed by B. Stori for Lenz Rifrazioni, Ater , S. Geminiano, Modena
1987 - Exhibition “making space for creativity: the new scenographers”“Fare spazio alle idee: i nuovi scenografi” with a study on A. Cechov’s play: “Three Sisters”, Spoleto
1987 - scenic design for Majakovskij’s  Pur vivendo sulla terra gli uomini sono barche, directed by F. Pititto, Teatro di Parma, Ater-S. Geminiano, Modena
1986 - scenic design for A. Schnitzler’s “Miss Else”, directed by T.Salmon
1986 - sets and costumes for W. Allen’s “Death, a comedy in one act”, directed by F. Ambrosini, Piccola Commedia - Teatro della Quattordicesima, Milan
1985 - scenic design for Plauto’s Rudens, directed by A.Gagnarli, Istituto Nazionale per il Dramma Antico - Teatro Greco di Segesta
1984 - scenic design for A. Bendini’s  “Breakfast”, directed by A. Gagnarli, Chiostro delle Oblate - Florence - Teatro Popolare di Roma
1983 – Collaboration with L. Ronconi for Progetto A e B – Spoleto’s scenic design 
1982 - sets and costumes for H. Pinter’s “The Homecoming” , directed by C. Cecchi, Teatro Niccolini - “Il Granteatro” company, Florence
1981 - scenic design for A.Strindberg’s “The Pelican”, directed by A. Rosselli, Teatro Niccolini –“Teatro Se” company, Florence