Coppelia Theatre
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Born Ghost eng

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Multimedia show freely inspired by the legend of the ghost of Azzurra from Montebello

What is said about us

Rarefied images among dreams, nightmares and a reality lost in time, a reality that merges with the legend. “Born Ghost” is technically a great work on the performative side and on the puppet use, while on the content side it's a shock, a complaint about diversity and about the dynamics that the group, the herd, the majority carry on, since ever, to stigmatize, alienate and marginalize who seems to be stranger to the system due to some small or big differences, being those physical or temperamental. A poor theatre with few objects that becomes magnificent and magical. It’s a game in a game, somewhat scary and mysterious, which refers to shadow theatre as to traditional Japanese masks, where the unspoken is a lot more solid and present than the exhibit.

(TOMMASO CHIMENTI; Reviewed | daily newspaper on culture and entertainment)

Synopsis

 

A black and creepy performance, frightening at times, but also touching and delicate; a poetical reflection on death and isolation which narrates the legend of the ghost of Azzurrina from Montebello, the albino daughter of Costanza Malatesta and of the landowner Ugolinuccio, who disappeared in mysterious circumstances in 1375. Nevertheless, the child was "invisible", just like a ghost, even when she was alive: nobody could understand her, and they locked her up in her castle because of her white hair. A tragic and dreamlike story about diversity that then as now is always scary, but also a hymn to freedom which is itself a struggle against ignorance and prejudice. The story, told through poetic images and visual metaphors, also offers a reflection on the experience of segregation and on the identity problem, anthropologically understood as a relational concept.

Styles

The use of various techniques of puppetry, dance and physical theatre make the narrative engaging and enrich the charm trying to reconstruct the atmosphere of mystery and timelessness of Montebello castle, but with the firm will to create a story that knows how to speak first of all to the present time.

Photograph Shooting 

Animating the inanimate

 

Azzurra is present, the wooden head which represents her comes alive, discovers to be a ghost and explores what is left from its body, its house, its own memories. She meets the eye of the manipulator and the relationship between the animator and the lively object becomes a mirror of the relationship between man and death.

Scenic minimalism   

The scene is clean and minimal. An eight meters long white sheet runs through the scene, it's the road that leads the viewer to the castle, but in an instant it is manipulated and turns into over 20 different objects (river, dress, ball, bush, cradle, cloak, etc.), within a broader poetic research on the versatility of the image.

Technical Sheet

Type of show

Contemporary Puppet Theatre

Language

Italian with English surtitles

Age of the Audience

Adults

Première

6 October 2020, Corte Ospitale; Rubiera

Duration

60 min

Scenic Space

8m x 5m; h 3m (The show can also be performed outdoors, but it needs an intimate and sheltered place from the wind)

Lights

24 ch dimmer 2,5kW, 12 PC 1000 W, 3 shapers 1000 W, 3 LUN 100W, 4 ballasts

Audio

Audio mixer and diffusion system suitable for the amplitude and the capacity of the room

Other

Smoke machine; video projector

Assembly

90 min

Disassembly

45 min

Cost

Estimates on request

Visual dramaturgy

A light design with a Caravaggesque flavour, in which a series of flashes tear through the darkest of nights. A story made of shadows and of light, in which the images of human experience seem so much frozen in time, how close to their point of dissolution. While the darkness constantly threatens to erase the whole scene. A visual metaphor of that nothingness that swallowed the little girl, like obscure ontological frame from which the stage act emerges as spectral phosphorescence. Light and dark become the alphabet of a non-verbal language at the service of a careful visual dramaturgy.

The Legend of Azzurrina

Guendalina is an albino child who lives confined in her fortress. Her father, lordship of the castle, does everything he can in order to protect her, because she was born different from everybody else. Her diversity scares the people of the village. They call her “witch” and “devil's daughter”. Her mother, Costanza Malatesta, does her best to make her grow like any child, she even tries to dye her hair, but the black colour coming from vegetable dyes acquires some blue shades on her. Hence Guendalina becomes Azzurrina and the rumours of the villagers do nothing but increase. During one of her solitary games, her ball mysteriously slips away. The girl runs after it in the basement of the castle and disappears into thin air.

Original music

composition, piano:            Stefano Bechini

musical saw: Natalia Paruz

cello: Marco Algenti

special content video