Given the rich indigenous theatrical tradition in Naples, it might come as a surprise that there is also a vibrant atmosphere of innovation, with two active experimental companies. Out of nine permanent venues in Naples, three offer popular-type entertainment, four offer top-quality productions (sometimes with state aid), and two are nationally-recognized experimental theater centers eligible for government funding. These two "Promotion and Production Centers for Theatrical Research" have as their mission fostering original theater (often via workshops), developing new audiences (especially with inexpensive tickets) and emphasizing work for young people.
Located in the heart of Naples' "Spanish Quarters," a rectangular grid of streets imposed on the hillside facing the sea and Mt. Vesuvius, Galleria Toledo and Teatro Nuovo are among only twelve such theaters in Italy. While the missions are similar, the two have different histories and contrasting managerial styles. Galleria Toledo's resident theater dates back about twenty years to the formal founding by Artistic Director Laura Angiulli as Cooperativo (non-profit) Il Teatro (1978). Playing in a variety of rented spaces and touring extensively, the company had already produced children's theater and, to a lesser extent, politically-connected theater in the early 1970s. While its coveted national designation came only two years ago, Coop. Il Teatro's activity has included such seminal productions conceived and directed by Ms. Angiulli as Lo Trattamiento di li Pecevirilla (1982) and Alexandra's Room (1985), both examples of classic Italian experimental theater's amalgam of mime, music, and visual effects.
The great leap forward came in 1986 with the purchase of its theater, at that time a long-vacant cinema in a run-down area. The renovations took another five years, mostly due to funding uncertainties, and formal opening was in April 1991. With a capacity of 300, this theater, with its broad stage slightly projecting into the audience space, is ideal for experimental work. Ms. Angiulli is responsible for the artistic direction of Coop. Il Teatro as well as finance, administration, and government relations and is frequently consulted by regional theaters. She also finds time to direct two or more new productions per year and, at this writing, is directing a film. In February she directed her adaptation of Pirandello's The Man, the Beast and Virtue, which subsequently toured to Vienna, Austria.
Going beyond the all-too-familiar theme of marital infidelity, Ms. Angiulli emphasized the violence inherent in this closed space of cruelty and terror, amplified with appropriate visual images. She also directed Tatuaggi ("Tattoos"), an adaptation by Enrico Fiore of Genet's Deathwatch ("Haute Surveillance"), which has been presented in two seasons in Naples and continues to tour throughout Italy in site-appropriate spaces.
The theater renovation was supervised by co-founder Rosario Squillace, who has stressed the continuity of the theater space with the urban space by using the same black peperino street paving blocks for the lobby and theater interior floors. A clear balcony front wall contrasts elegantly with the black seats and stage of the theater space, while the lobby is graced with glass and white marble fixtures of sculptural interest.
As Organizational Director, Mr. Squillace's responsibilities cover such functions as maintaining the physical theater, ensuring technical requirements are met for all productions visiting companies, house management (including box office and stage crew), assessing tour venues, and general design. Trained in scenography, he frequently contributes to the productions as stage designer and employs his dance training and experience in periodic appearances in Galleria Toledo's shows.
The current annual total budget is $1 MM, with approximately 40 percent for salaries for eight full-time employees, including a press relations specialist and backstage technicians, wages for up to 15 resident and touring actors, and additional production and technical assistants and benefits. Another 45 percent goes for theater maintenance, scenery and touring productions; while the remaining 15 percent is allocated for publicity, promotion and workshops. Income is approximately two-thirds from home and touring box office and, surely to the envy of U.S. theaters, one-third from various governmental sources. There is a rigorous annual certification process for such subsidies, which are granted with the understanding that maximum employment be created, in addition to maintaining an active tour program.
Local assistance emphasizes the theater's catalyst role in revitalizing a somewhat degraded neighborhood. This past season saw 63 nights of ten mostly-new productions by the resident company at home and 51 on tour. There were another 20 performances for school groups. Performances by 22 visiting companies, mostly Italian, totaled 126. The shows are always new plays, not infrequently original adaptations of Italian and foreign classics.
Other activities included about 150 film offerings, mostly international classics and new Italian cinema, 20 evenings of new music, occasional poetry readings and workshop presentations. Galleria Toledo had a total attendance of 14,000 for the 1995-96 season at the resident theater, exclusive of its summer film series.
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A few blocks away from Galleria Toledo is the Teatro Nuovo, dating from the 18th century and noted as the site of some Rossini opera premieres. Rebuilt several times following fires, by the late 1970s it had become a porno theater in a somewhat dicey neighborhood. The current resident company, Coop. Teatro Nuovo -- Il Carro, planned an opening of the theater in November 1980, which, unfortunately, coincided with the most recent big earthquake. Rising to the occasion, President Igina Di Napoli arranged a series of benefit nights to aid the quake victims.
Now rented under very long-term arrangement, the theater is characterized by a prominent proscenium arch, its 300 red seats contrasting with a white interior. The company has been officially recognized as a national experimental theater almost since inception. Ms. Di Napoli concentrates on general management and government relations and, with Director Angelo Montella, seeks to provide a structure to free the creative professionals of Il Carro. The artist group is unusual for frequently exchanging roles, for example from direction to lighting and scenic design to acting.
Regarding stage presentations, Ms. Di Napoli has maintained a balance among adaptations of theater classics such as Greek tragedy, Shakespeare, and Moliere, works emanating from Teatro Nuovo workshops, and contemporary authors. Workshops and seminars round out the core activity. Prominent among the early alumni of this atmosphere is Mario Martone, who founded the respected experimental group Falso Movimento.
Teatro Nuovo's annual budget is slightly smaller than sister theater Galleria Toledo, and revenues are roughly equally divided between home box office, government assistance, and other sources, including tours. Eleven full-time employees include administrative and permanent ensemble, plus additional actors and technical staff are hired as needed for each production. This past season saw eight self-produced theatrical productions by the resident troupe, plus four co-productions; nine of these were national premieres. In addition, fifteen visiting Italian companies played there.
A highlight was a presentation of selected theater and nearly all the films of Fassbinder; a similar Pasolini monograph was presented in 1994. Mishima's My Friend Hitler , directed by Tito Piscitelli in February, continued Teatro Nuovo's presentation of that author. Weekly film screenings plus special series on new Italian directors, Andrei Tarkovski, and Alexander Kluge in addition to the complete Fassbinder oeuvre, represented 30 percent of total offerings. Ms. Di Napoli arranged an impromptu seminar with Iranian director Abbas Kiarostami during an Italian stopover. Two dance companies appeared, and there were six "Teatroche si sente" evenings of poetry, music and movement.
Below the large theater is the Sale Assoli, an open rectangular space with a capacity of 100 and suitable for one-person shows and workshop-type presentations. This is also used for their Teatro Segreto, a program to furnish stage and lights on Mondays during the regular season for groups, typically of high-school and college age, to make their own theater.
Despite continual restructuring of Italian government institutions, eliminating their participation in cultural life would be unthinkable. The Italian private sector remains somewhat reluctant to support other than banal mass appeal events that promise an immediate publicity payoff. With worldwide disinclination to attend live events, audience development efforts have diminishing returns, and the public for experimental theater is limited even in the largest Italian cities. One hopeful sign is that more than two-thirds of the audience at both Galleria Toledo and Teatro Nuovo is under 30.
