Built in 1695, by the will of the Accademia degli Immobili, under the auspices of the Cardinal Giovan Carlo de’ Medici, Pergola Theater has known in the last few years one of the most tempestuous and relevant seasons of its long history. Recently united with the Pontedera Theater Foundation under the name of Teatro della Toscana and with the meaningful recent recognition of National Theater, Pergola is one of the most important theaters in Italy today. The most remarkable novelty of this season is the interest taken in training projects, articulated through the “Orazio Costa” Training Program for Actors – biennial school that cultivates and deepens the legacy of Orazio Costa, one of the first pedagogues-directors who worked and lived his last years at Pergola – and Oltrarno, ambitious acting graduate school run by Pierfrancesco Favino with a triennial cycle, full time and totally free.
Florence… for centuries the home of artists. Why? For so many reasons Florence inspires artists of both the past and present. Florence is unlike any other city in the world. It is not an exaggeration to say, it is magical. To follow in the footsteps of where old masters once walked, the legacy of their works in the museums, churches and galleries, the architecture and sculptures of every street is just the beginning…there is also the diversity of the city both with the locals and the visitors who come from every corner of the world and here, more than any other place we know, invites conversation in the piazzas, the restaurants and even in line at the markets. Everyone has a story to share and that is essentially what an artist is…a story-teller.
It was the rise of the capital of Florence in 1865, that made it feel necessary for this country to have a cultural political period that would allow an open and qualified debate – beyond parliamentary controversy and the hastiness of the newspapers – about the great issues and problems of a politically united Italy, (only Venice and Rome were missing), but also to become unified in so many other issues. In Florence, the tradition was prestigious. Between 1821 and 1832 the “Antologia” by Gian Pietro Vieusseux, Gino Capponi and Niccolò Tommaseo had contributed – until the censors ordered it to be suppressed – to the formation of the national consciousness, imposing itself on an European level in the battle for the progress of a civil society, for the emancipation of the lower classes, education of the women, training of farmers, the improvement of the economic conditions through savings.
It is not to establish a list that will encourage ancient rivalry between Florence and Siena that we speak about in this article, but about two videos, wonders of technology applied through art, Magnificent of Florence and La Divina Bellezza of Siena. Even if they were both born from the need to draw to Tuscany direct visitors at the Expo Milan, they are designed to be featured longer in the Exhibition itself. There are discussions about making them permanent installations, because they chose to narrate two different stories, both of them using projected works of art, in a synthesis that recalls and revitalizes the meaning of paintings, architecture and sculptures from distant centuries.
What was the motivation behind the birth of the project?
The project is born from a reflection on the possibility to continue to work in the theater, a field in which Italy is a leading Master, and especially a reflection on the possibility to be able to show it in Florence, valorizing the resources that the city has to offer and the cultural-artistic heritage that more and more foreign visitors want to know about.
Cosimo de’ Medici also knows as Pater Patriae was born on September 27, 1389, during a prosperous period for Florence. Inheriting the influence of his father, Giovanni di Bicci de’ Medici, he was to become a great art collector, business leader and historian. He represented the Medici bank, managed the papacy’s finances and became the wealthiest man of his time. Cautious like his father but ruling with a firmer hand, his speech and actions were well balanced.
In September, Armida “Pupa” Nardi, versatile Florentine artist, inaugurates her new Art Studio in the heart of Florence, in Piazza dei Giudici 4/5 r, in front of the Galileo Museum and next to Uffizi. An artist’s studio that wants to be a place of Culture and Beauty, a refined and intimate lounge where meetings and conferences on artistic, historic and social themes will be hosted.
Pupa has always had a “visceral” relationship with Florence, a city to which she feels very attached, stating: “I was born in the splendid Florence and have had the fortune to breathe Art in all its forms. My passion for Art and Painting in particular, has grown alongside with me and I always cultivated it, together with my passion for theater, the study of foreign languages and travelling”.
Housed in the six vaulted spaces of what used to be a stable for horse-drawn carriages, the Frilli Gallery provides a remarkable overview of the history of Florentine sculpture.
The whole gallery, created with a refined clientele in mind, consists of copies of greater and lesser masterpieces. But these are not mass-produced copies, they are the product of a long tradition of craft skills applied to such fine materials as bronze and marble.
It’s almost sixty-six years old, it shows its age, but that’s not a problem. In fact, it should be proud of its age and with each edition it aims to be more beautiful and interesting than before. Over the years it knew how to cultivate and increase the already high level achieved with the stirs of its first edition in 1959. Those where the years when Florence, only recently coming out from the disaster of the war, seemed to successfully sew back together the threads of its history that, since the Renaissance, was seen as an indisputable leader on the international scene as a cultural capital and guardian of beauty.
The 2015-16 season symbols an unprecedented collaboration between the Tuscany Theater Foundation run by Marco Giorgetti and The Production Center for dance run by Virgilio Sieni. From October 14 until October 31 the Pergola Theater and Cango, headquarters of two different companies accredited for drama and dance at the regional level, will host together with other spaces in Oltrarno, the first edition of UMANO – international shipyards on body language and dance, thus establishing
The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this.