LUCE estratti LUCE 323 _ Calafiore _ Marco Filibeck | Page 7

e meccanismo del teatro totale (Architecture
and mechanism of the total theatre), Marinetti
described the theatre as “synthetic
polysensational simultaneous polyscenic
aeropictorial aeropoetic cinematographic
radiophonic olfactory tactile noisy”, anticipating
the concept of contamination that we see today.
I think one of the components that make modern
theatre important in a social sense, is being in the
vanguard in the development of communication
languages. Among the Futurists, besides your
quotations, I also would include Giacomo Balla,
the first to experiment dynamic light in an artistic
key. The avant-garde artists have always
influenced theatrical expression, using the stage
to develop and experiment new communication
languages.
Alceste. Opéra de Lyon, Regia di / Directed by Alex Ollè (La Fura dels Baus)
scene di / scenes by Alfons Flores, luci di / lights by Marco Filibeck
Madama Butterfly. Teatro Regio, Torino. Regia di / Directed by Damiano Michieletto,
scene di / scenes by Paolo Fantin, luci di / lights by Marco Filibeck
I Puritani. Teatro Regio, Torino. Regia di / Directed by Fabio Ceresa,
scene di / scenes by Tiziano Santi, luci di / lights by Marco Filibeck
78
LUCE 323 / LANTERNA MAGICA
After a century, the keystone is technology which,
in the lighting sector and particularly in its
applications for the theatre, is extremely avant-
garde. What is the state of the art in the lighting
sector at Teatro alla Scala in Milan?
The technology utilized in a theatre like Teatro alla
Scala must be updated constantly. In the past a
set of lights that could satisfy the needs on stage
for a decade were used. Today, there is a need to
update the lighting system and lighting
techniques year after year. An avant-garde role is
obtained through constant upgrades. Having the
most advanced equipment available can give
origin to the new aesthetical values you mention.
However, there is no automatism, creativity and
artistic expression never depend solely on the
available equipment.
How does a complex space, like the stage of an
Opera theatre, cater to the settings for the
different typologies of performances – opera,
ballet, concerts - along with the requirements
of the season’s programme?
The stage of Teatro alla Scala is a very complex
machine because the production of different
performances during a season is extremely intense
and diversified. For the scheduled programmes,
we have a permanent set of lights, in other words
lighting fixtures which are permanently mounted.
There is not enough time for the installation of
new systems between a production and the next,
therefore the basic system, integrated with specific
installations for each single production, represents
a solution that can be managed well. The set of
lights at Teatro alla Scala contains all the
typologies of projectors, of the old generation,
such as Fresnels, profile spots and pebble convex
lanterns with halogen incandescent sources
or low voltage lamps, and moving lights of various
typologies, discharge source moving lights, LED 3
colour, 4 colour and 5 colour or LED chip up to 7
colours, diffusors for backdrops and colour-
changers. Planning and calibration of the light
effects is carried out using 2 lighting control
consoles, with 6 operators who alternate their
presence, so as to cover the entire work-day.
An ideal set of lights! Teatro alla Scala offers
a set-up that enables the light designers
to design and realize the visions imagined
with the directors, with maximum flexibility
and range of solutions!
Theatre lighting designers often have a “double
soul”. I like to use this term because it evokes
something intimate and deep that brings artistic