Don Chisciotte della ManciaDon Chisciotte della Mancia

A theatre director

of

Giovanni Paisiello

Director and art director Matteo Perico

“Al Cortese player the ingenious novel called

The Don Quixote of La Mancha I have gathered the facts, you see in this tight play.

To give it the unity of place,I had to alter them,

and are sometimes still came out from the novel traces to adjust

to pretend Company two Ladies in playful mood Villa,among which happens

the great knight-errant Don Quixote with its famous squire Sancho Panza.

These with the aid of a witty woman of their service,they weave the pretty adventures

for those , and do not fail at the same time to make fun of two of their lovers,

silly character»

Don Chisciotte della ManciaMusic of Giovanni Paisiello

Comedy in three acts. Libretto by Giambattista Lorenzi.Music: Giovanni Paisiello.First performance in Naples, Teatro dei Fiorentini, 1769 Summer.He was staged for the first time in 1769 at the Teatro dei Fiorentini in Naples, the Don Quixote of 'then twenty-nine Paisiello. There are two versions of the text, a wider with 34 scenes and a strong Neapolitan coloring, another with 24 scenes sun, a character less and the almost total disappearance of the vernacular.Already the theme of the booklet Lorenzi is very unusual and imaginative: Don Quixote and the 'inseparable Sancho Panza are reinterpreted in Neapolitan key.Paisiello infuses moving poetry in the story and the music flows playful dissolving a 'mild irony situations and characters that in other hands could get quite heavy. It 'full of inventive music, with lyrical flights sudden that, particularly in the second act and song d' love of the protagonist in the third, nearly masterpiece with a 'refined orchestration and colors always varied.

The source is obviously the Cervantes novel. The author of the libretto is Giambattista Lorenzi. Playwright (Naples 1721-1807). Director of court performances, then auditor of all the plays. A friend of Giovanni Paisiello, was a man of wide literary wisdom and connoisseur of the latest theatrical techniques. He admired immensely both Metastasian poetry that French literature. It is considered the most important Neapolitan opera buffa librettist of his time. The booklet has the status of a fun board games, the plot so slight as to be nonexistent, pretext for disguises and scenarios so amazing and rich in color.Quixote has the consistency of a puppet and how the puppets condemned to repeating himself and viewers can indulge without remorse to the pleasure of discovering what they already knew.

Don Chisciotte della ManciaLibretto di Giovan Battista Lorenzi

Story

FIRST ACT

In a wooded clearing the Duchess , Countess, Donand Don Plato Calafrone part in a hunting party.The two men, ridiculous characters and clumsyhunters, awkwardly courting the two ladies whotake of their game. Comes Sancho followed by DonQuixote, who mistook a flock of sheep for a Moriarmy and attacked the animals to ready for battle,remaining unseated.Sancho said to his master that the beautifulDulcinea , the lady who imaginary Don Quixotehas elected lady of his heart , has been transformedinto an ugly and rough peasant from Fristonmagician, enemy of knights-errant. This isobviously a canard invented then and there by thesquire, to be drawn out of trouble after DonQuixote had instructed him to an impossible task,delivered a letter to the imaginary Dulcinea delToboso.

Desperate, Don Quixote resolves to go crazy, following the example of Orlando champion andorders Sancho to read him the passage of Orlando Furioso by Ludovico Ariosto, where it is narratedthe episode. Meanwhile, the hunters group meets with the knight and his squire: Don Quixotethinks he recognizes the servant Carmosina the features of the beautiful Dulcinea and gives inismanie. The Duchess and the Countess decide to take a walk of the singular couple inviting her toan outdoor banquet, which takes place between jokes and eccentricities of all kinds.

SECOND ACTIn the presence of the Duchess, Sancho was appointed governor of the island Barataria. He thenfollowed the series of mock hatched by the ladies and their courtiers to have fun behind the KnightErrant and his squire. A chariot comes upon Countess and Carmosina, camouflaged by the sorceressMelissa respectively and Dulcinea; It follows a procession of courtiers (between which is Don Plato)with fake beards and women's clothes. Countess-maga explains to Don Quixote that the same evilenchanter who transformed Dulcinea in rough peasant, has turned some beautiful ladies in horriblebearded women; to win the spell Don Quixote will reach the seventh heaven riding dell'Ippogrifo,while Sancho must receive 3,500 beatings. The knight and his squire (reluctant because of thebeatings) go up blindfolded on a wooden horse and undertake to general walking their imaginaryjourney through outer space.Scene two - Countryside with Windmill in the background mills. Calafrone Don and Don Plato, asusual, will vie for the favors of the two ladies, who pretend condescension, making fun of them. Thesimulation also involves Don Quixote, which the ladies say they are in love, arousing the jealousy ofthe two suitors. The act ends with the disastrous enterprise of Don Quixote against the windmills.

THREE ACTCarmosina and Cardolella Calafrone convince Don and Don Plato to make peace with the ladies,what happens between the general satisfaction. Not only that after so long and lovingly joked withthem, Countess and Duchess now feel genuinely attracted by the two men and they are ready tomarry. The opportunity to come out to their prospective spouses is offered to them, after a ridiculousduel (in which Don Quixote acts as an arbitrator) with whom they wish to decide their fate in love.After having borne the brunt of a last joke (he believes to be become a stone statue), along with DonQuixote Sancho leaves the party, towards new adventures.

Director’s notes

It 'a kind of literary creature, which could take place only in an artificial reality created andbuilt ad hoc in the pages of a book, and out of the hands of an experienced narrator: this is whatevokes the character of Don Quixote, in the work music by Paisiello.The whole story takes place somewhere between the stage fiction and the imagination of theviewer and protagonists: the first seeks to resume Cervantes characters and to give a newreading and completely original, and with imagination creating repeated misunderstandings ,adventures and jokes that Don Quixote and Sancho Panza are living on their skin, after meetingwith both Dame.This is a listing cheerful and light-hearted scene, which takes on a vital role play of colors, for

the understanding of the whole affair; various colors fact are chosen carefully to denote eachelement on the scene and to make sure that certain things appear as true, as they really exist,although in reality they are not because they do not exist.With the clever use of different colors, just like in the greatest works of art, you want to givevoice to something that is not immediately visible and comprehensible to all, and here in caseyou want to give light on the madness that remains in the shadows , in what is not there, whatit is unreal and unknown to most.These are the conditions, characteristics that prevail in the character of Don Quixote, which isnothing but a puppet in the hands of the deeds and gestures of others; it's just a madman withhallucinations, much to exchange a flock of sheep for an army, is dominated by yearnings oflove, so as to confuse his beloved as imaginary Dulcinea with the maid Carmosina, he is a manwithout a shred of lucidity and of dignity, so much to take the famous but ill-fated campaignagainst the windmills.

The ladies become the puppeteers, who in a colorful backdrop to the teeth move to weave the plotof the games and to make fun of Don Quixote and his faithful servant, which in turn continuouslyfall into deception and who believe in a reality that does not exist, just like the foolish and naive.Here is how the color acquires its role, that of absolute knowledge tool, which goes to give

meaning to everything that colors and allows the viewer an understanding of each other. Themadness of Don Quixote is managed and notified only thanks to the different color shades, whichtake shape in the scene and that work to make sense of what they can not exist, to what is nottrue, what no one can snatch by reason alone.The scenic trick is revealed: nothing is real, everything is part of the dimension of fiction: there areonly puppets, puppets and all are reciting their own script, all the elements are unrelated to whatthey represent in the real world, everything becomes more by itself and takes on differentmeanings and not understandable. The viewer is confused, unable to grasp the meaning of things,can not perceive the boundary between reality and fiction, between reason and madness, becauseeverything is lost in a whirlwind of colors, in frantic movements clumsy dancers are transformedin animals, soldiers and monsters. Everyone is forced to having to emerge from the darkness,from the depths his madness, Don Quixote, who is in each of us ... if it is to fully understand thetrue meaning of all history.

Matteo Perico

Choreography

The choreography will focus on the various intrigues andvarious games of love.Transformation into puppets , the sheep , the wind mills. Theset the table , eating , magic, spell, the jokes , the forest on fire,fire, natural elements

Set design

All it stylized as a work of Kandinsky with play of colors.Downstage many colorful books.Against the backdrop of rustic factories , a shed on the otherside and in the distance a valley, windmills

Costume Design

The orchestra will resume the basic colors that describes Kandinsky:will wear the yellow brass, trumpet;the blue of the flutes;red tuba;the orange the alto and the bell;Green violin and strings;purple horn, bassoon; blue cello

Estate 1769

Paisiello 1816-2016 200 years after his death

Kandinsky 1866-2016 150 years of the birth

"Colour is a meansto exert a direct influenceon the soul. Color is a key, the eye the hammerthat strikes the soul the instrumentof a thousand strings"

Kandinsky and musicKandinsky and music

In the work "The spiritual art" gives each color that describes accordingto the feelings and emotions that arouse in the spectator comparing themto musical instruments.

Yellow: equipped with a rich vitality madness is compared to the soundof a trumpet, of a fanfare. The yellow also indicates arousal thus canoften be compared to the red.

The blue is the blue that tends to lighter tones, is indifferent, that is, andis comparable to the sound of a flute.

The red is warm, vital, lively, restless but different from yellow, becauseit has not its superficiality. The energy of red is controllable, that of freeryellow. The average is deep red, dark red is more meditative. It is likenedto the sound of a tuba.

Orange: it expresses energy in motion. Likened to the sound of a bell or acontralto.

Green: is mobility in absolute stillness, only towards yellow purchasesenergy .. Compared to the sounds of a violin.

Purple: it is unstable and it is very difficult to use it in the middle rangebetween red and blue. It is comparable to the English horn, thebagpipes, the bassoon.

The blue is the color of the sky , is deep; when it suggests intensestillness, when it tends to black is dramatic, when it tends to lightertones his qualities are similar to those of blue, if it is mixed with yellowmakes malt. E ' associated with the sound of the cello.

The gray is the equivalent of the green that represents the quiet, butwhile the green embodies the energy of yellow, in the gray there is lackof movement.

Brown: is obtained by mixing black with red but the energy of the latteris stifled.

The white is the sum of all colors, but a sum in which all the colorsdisappear.

The black is the absence of light , is a non - color.

Graphic design by Domenico ColellaAll rights of the idea and the theater project are protected on the basis of Law no. 633/41 on copyright