Svetovni dan lutkarstva
21. marec 2013
UNIMA z veseljem predstavlja uradno sporočilo za Svetovni dan lutkarstva 2013. Letos smo povabili k sodelovanju znanega italijanskega glasbenika Maestra Roberta De Simóneja, ki je hkrati tui avtor, direktor in eminenten strokovnjak Napolitanske tradicije Guarratelle in Pulcinella. Ta odločitev je posledica obiska Dadi Pudumjee in Jacquesa Trudeauja (generalnega tajnika UNIMA-e) Rima in Neaplja na podlagi povabila direktorjev UNIMA-e Italije, ki nas je pripeljalo tudi do mesta Acerra, rojstnega kraja osrednje osebnosti Pulcinella in kjer sva prejela časten naziv Ambasadorja Muzeja Pulcinelle (Ambasciatore del Museo di Pulcinella). Zahvaljujeva se direktorju in ekipi prestižnega Muzeja Pulcinella za čast, ki so nama ju izkazali. Vse vas seveda vabiva, da si ta čudoviti muzej tudi ogledate in doživite.
Vsi se zavedamo enormnega vpliva osebnosti Pulcinella na svetovno lutkarstvo, njenega stopnjevane evolucije v različnih oblikah in uprizoritvah skozi kulture mnogih držav. Besedilo Maestra vam bo omogočilo vstop v srce njemu najbližje Napolitanske kulture in izpostavilo glasbeno in ritmično dimenzijo ki jo naj bi oz. bi jo moral posedovati vsak dober mojster lutkarstva.
Naša umetnost je unikatna in rastoča. 21. marca 2013 slavimo lutkarstvo! Ampak zavedati se moramo, da so določene tradicionalne oblike v nevarnosti in počasi izginjajo in s tem seveda zahtevajo vedno večjo varovanje. V tem pogledu na Neapelj in njegova okolica podajajo dober primer, kateremu lahko sledimo: prenos tradicije operira v spoštujočem in navdihujočem načinu med mojstri in učenci že več kot 500 let.
Jacques Trudeau
UNIMA generalni tajnik
Roberto De Simóne
Italijanski režiser in muzikolog, njegovi antropološki interesi se prav tako kažejo med drugim v delih kot so Fiabe campane (1993). Poznan je tudi kot glasbenik in režiser, ki večkrat sodeluje z Novim združenjem za popularno glasbo (Nuova compagnia di canto popolare).
Bil je umetniški direktor (1981-87) Teatra San Carlo iz Neaplja in režiral mnogo oper. Nominiran 1998 za Akademika Santa Cecilia, kasneje prejel naziv Chevalier des Arts et des Lettres s strani francoskega predsednika. Leta 2003 je prejel nagrado Roberta Sanseverina.
(povzeto iz Treccani.it , italijanske enciklopedije)
Mednarodno sporočilo Roberto De Simóneja
Moje srečanje s Pulcinello sega nazaj v meglico mojih spominov; v zgodnje dni mojega otroštva, ko je bil Pulcinella del domišljije vsakega neapeljskega otroka. Srečal si ga lahko na ulici v košarah prodajalcev igrač na ulici ali na stojnicah sejma v Saint Josephu, na Razodetju v okviru Festivala Piedigrotta, kjer so bile predstavljene in razstavljene tradicionalne igrače. Med njimi je mali Pulcinella prav izstopal, ki je, postavljen na miniaturni voz in porinjen s palico, mehanično ploskal z rokami v katerih so bile majhne cimbale.
V tem času pa je bilo izjemno popularno še eno igralo: mali rdeči stožec narejen iz kartona v katerega si lahko vstavil igračo trobento opremljeno s pivetta za igranje glasbe tradicionalne tarantele.
Majhna žičnata vleč je bila prav tako del igre: ko si jo vstavil v stožec in jo kot otrok nežno porinil je Pulcinella s tem začel iti gor in dol, čigar belo ogrinjalo je bilo prilepljeno na vrh stožca samega. Očitno je igra, sugestivno seksualnega gibanja s tem dala našemu junaku falični pomen, ki je bil kasneje ponovno potrjen v drugih tradicionalnih uprizoritvah.
Nazadnje lahko Pulcinella najdemo v blebetanju, otroških rimah in pravljicah. Da skrajšam, pripadal je sanjskemu materialu tradicije tako da bi malo in po malo dostopili do njegovega prvotnega namena in potem vedno bolj globlje do misterioznosti in emblematične pomembnosti.
K vsemu temu je doprinesel tudi potujoči Guarattelle lutkovni teater, v katerem nestvarne lutke kot so Pulcinella, Teresina (njegova ljubezen), Pes, Smrt, Rabelj in drugi nastopajo na Piazza del Gesù, San Domenico Maggiore in Porta Capuana, s čimer so začarali otroške obraze medtem ko smo stali tam odprtih ust, kot da bomo ravnokar prejeli Sveto telo naše zahtevne Biblije..
GLAS PULCINELLE
Puè puè puè puè puè
puere puè puè.
Poglej ven Teresa
Poglej s svojega balkona
Saj želim slišati čudovito pesem.
Nazadnje bi rad spomnil da tudi v tradicionalnem repertoarju Guarattelle lahko najdemo karakterje in scene ki zgledajo povezane z židovsko tradicijo, špansko tradicijo, latinsko tradicijo in grškim teatrom. Pojem guarattella je narečna interpretacija besede bagattella, kar pomeni malenkostna zadeva in prihaja iz besede Bagatto, ki je eden izmed velikih adutov tarok kart kabalističnega izvora in prevozno sredstvo pripovedk in potez ki jih lahko pogosto najdemo v repertoarjih in povzetkih Guarattella teatra.
Rad bi zaključil z ganljivo deklaracijo, ki sem jo posnel z glasu zadnjega neapeljskega guarrattellara stare tradicije Nunzia Zampella, ki nas je žal prehitro zapustil in ki je imel v svojem DNK zapisu vse kromosome pradvne Pulcinella-style umetnosti. Ko sem ga vprašal, kako pomembna je uporaba pivette lutkarju, mi je dal ta odgovor:
ZAMPELLA: "Je ključnega pomena. Umetnost lutkarja ni lahka; rokovanje je lahko enostavno ampak mimika je glasbena in gibanje je glasba. Najtežja stvar je ta dvojni glas ki naj bi alterniral naravnemu glasu tistemu z uporabo pivette (neke vrste šepetanje). Lutkar mora biti sposoben vseh glasov: Ženske, Policaja, Duhovnika, Pulcinella, Psa in celo Smrti. Kakršno koli neumnost izustiš v predstavi mora postati ritem: besede so glasba, premikanje je ritem; v tem in samo v tem leži prava moč guarattelle". (21. junij 1975)
Želim vam, vam na vseh 5 kontinentih, fantastičen Svetovni dan Lutkarstva!
World Puppetry Day
March 21st, 2013
UNIMA is happy to present the Message for UNIMA World Puppetry Day 2013. We invited this year a famous Italian musician, Maestro Roberto De Simóne, who is also author, director and eminent specialist of the Neapolitan tradition of Guarratelle and Pulcinella. This choice is following the visit that Dadi Pudumjee and I made to Rome and Naples, due to the invitation of the directors of UNIMA-Italy, that brought us also to Acerra, birth place of the character Pulcinella, to which we were bestowed the title Ambasciatore del Museo di Pulcinella. We thank the director and the team of the prestigious Museo Pulcinella for the honour they conferred us. We invite all of you to visit this wonderful museum.
We all know the enormous influence Pulcinella's character has in puppetry world, its gradual evolution under different forms and appearances, through cultures of many countries. The text of the Maestro will allow you to enter in the heart of his own Napolitan culture and point out the musical and rhythmic dimension that every good puppet-master must possess.
Our art is unique and ever growing. On March 21st 2013, let's celebrate puppetry ! Be conscious however that certain traditional forms are in danger of disappearing and demand an increasing protection. In this aspect, Naples and its surroundings give us a good example to follow: transmission of the tradition operates in a respectful and invigorating manner between masters and pupils since more than 500 years.
Jacques Trudeau
UNIMA Secretary General
Roberto De Simóne
Italian director and musicologist, his anthropological interests are also present, among others, in works as Fiabe campane (1993). He also worked as musician and director, often in collaboration with la Nuova compagnia di canto popolare.
He was the artistic director (1981-87) of Teatro San Carlo of Naples and directed many operas. Nominated in 1998 Academicien de Santa Cecilia, he received later the title of Chevalier des Arts et des Lettres by the President of the French Republic. In 2003, he received the Price Roberto Sanseverino.
(From Treccani.it the Italian encyclopedia)
International Message from Roberto De Simóne
My first encounter with Pulcinella goes back into the mists of my memory; to the early days of my childhood, when Pulcinella was part of the imagery of all Neapolitan children. You could meet him in the street in the wondrous baskets of the toy-peddlers or on the stalls in the Fairs of Saint Joseph, of the Epiphany, of the Piedigrotta Festival, where small traditional toys were exhibited. Among those a small Pulcinella stood out, who, placed on a miniature trolley and pushed by a stick, would mechanically clap his hands fitted with minuscule brass cymbals. Another plaything was also extremely popular: a small red cone made of cardboard in which you could insert a toy trumpet equipped with a pivetta to play the tune of a traditional tarantella.
A small wire puller was also part of the game: when it was inserted in the cone and gently pushed by the child it made a tiny Pulcinella manikin go up and down, whose white vest was glued to the circular brim of the cone itself. Obviously the game, suggestive of a mischievous sexual movement, lent to our character a phallic meaning, which was reaffirmed also in other traditional performances.
Lastly, Pulcinella could be found in rigmaroles, nursery rhymes and fairy tales: in short, he belonged to the dreamlike fabric of tradition, so that little by little you would access his initiatory purpose, and then his deeper mysterious and emblematic significance.
To all this the itinerant Guarattelle puppet theater also contributed, in which the fanciful puppets of Pulcinella, Teresina (his sweetheart), the Dog, Death, the Hangman and others would perform in the Piazza del Gesù, San Domenico Maggiore, and Porta Capuana, mesmerizing our childish faces, as we stood there, open mouthed, to receive the Creed of our oneiric Bible.
VOICE OF PULCINELLA
Puè puè puè puè puè
puere puè puè.
Look out Teresa,
look out from your balcony
for I want you to hear a beautiful song
Finally, I would like to recall that even in the traditional repertory of the Guarattelle you can find characters and scenes which appear to be connected to the Jewish tradition, the Spanish tradition, the tradition of the Latin and even the Greek theatre. The term guarattella is the vernacular rendition of bagattella, (a trifling matter) and comes from the word Bagatto, which is one of the major trumps of the tarot cards, of cabalistic origin and a vehicle of tales and features that we often find in the repertories and outlines of the Guarattella theater.
I will like to conclude with a touching declaration that I recorded from the voice of the last Neapolitan guarrattellaro of the old tradition, a certain Nunzio Zampella, prematurely passed away, who had in his DNA all the chromosomes of an ancient Pulcinella-style art. Asked how important the use of the pivetta was to a puppeteer, he gave me this answer.
ZAMPELLA: "It is essential. The art of the puppeteer is not easy; the handling can be simple, but the mimicry is musical, the movement is music. The most difficult thing is the double voice that is to alter the natural voice with the artificial one by the use of the pivetta (a sort of whistle). The puppeteer must be able to do all the voices: the Woman, the Carabineer, the Monk, Pulcinella, the Dog and even the voice of Death. But whatever tomfoolery you say in the show it must become rhythm: words are music, movement is rhythm; in this only lies the true strength of the guarattelle". (21 giugno 1975)
*The puppet Pulcinella created in 1620's inspired ten other characters of the European popular theatre that, everyone, knew to entertain their audience and to give him a space of liberty.
I wish all you, on the 5 continents, a fabulous World Puppetry Day !