Felliniana

The tale of a journey, the story of a dream…a dreamlike journey that captivates the audience.

 

Written and performed for the first International Rome Film Festival (2006), and totally recreated in 2010, Felliniana is an homage to the great Italian director. An open-air show with images of strong visual impact, Felliniana is inspired by masterpieces such as La dolce vita, Amarcord, E la nave va, La strada, Le notti di Cabiria, Boccaccio ‘70, creating a rarefied atmosphere in a black and white setting.

The show uses acrobatic choreography, live music, light effects, waterworks, large scenographic machinery and evocative video images, all mixed with live acting.

The show is made possible thank to the patronage of the prestigious Fellini Foundation.

The piece made its debut in its reworked form at the Malta Festival 2010 (Poznan – Poland).

Staff: 11-12 on tour + 4 musicians (if required)

Running time: 60 min.

Venue: The show is suitable for very large open spaces and historical locations Language: NO TEXT – non verbal show

Target Audience: any age bracket. It can host up to 2,000 audience members. Suitable for an international audience

Miscellaneous: Use of pyrotechnic effects and waterworks 

The performance could also be preceded by:

“Felliniane Appearances”: many characters from the great director’s movies pop up in various locations throughout the city or town.

“Felliniana Parade”: a circus, a caravan of surreal characters crossing the town…a site-specific parade, making use of the buildings and various locations in the city or town.

“…It’s almost as if I can hear the voice of my old Producer: ‘But how can it end like this?…without a shred of hope, a ray of sunlight…but give me at least a ray of sunlight!’… a ray of sunlight… well, I don’t know…Let’s see…”

 

A bench, a streetlamp, some cloths hanging up: the story begin. Merry plastic characters in the carousel of the surreal world of Cinecittà. Sylvia calls out “Marcello, Marcello…” in her splendid foreign accent. She arrives transported in a sidecar from the Second World War.… The Trevi fountain transformed into a 1950s version with tritons, nymphs and cupids equipped with buckets and watering cans full of water.

 

An empire style bathtub is positioned in the centre. Sylvia gets in. One thousand litres of water are thrown on top of  her until she runs away terrified, defeated, soaked from head to toe.

 

Then, alluring, seductive but with a melancholy after taste Fellini’s women emerge from the twilight, smiling with irony at the misery of life. And then comes an enormous skirt on top of which a sultan appears…a dwarf Sultan (thanks to this particular costume) followed by his harem of concubines…a setting with an exotic flavour where the Maharaja uses his whip to keep control of his women/beasts, and ends up putting them back inside his skirt, which is transformed into a cage…Suddenly, the atmosphere changes and the various parts of the scenery reassemble themselves to take the form of a huge ship…fireworks in the sky and from the edge of the bow a cascade of sparks…

 

Women dressed in white and men in tails in a sweet, timeless Waltz.

 

All the characters of our journey get on board…the light slowly disappears…the wind blows…this is the end.

 

For the entire show two characters lead us to the heart of story: one seems to be Gelsomina, the poetic creature born from Fellini’s imagination, and the other, a magical guide taking us into this world, a guide who jumps three meters high, who does aerial tricks and moves everything that surrounds him. These two lead us by the hand into this fantastic world where everything will be made possible…Gelsomina falls asleep…and the dream begins.

VIDEO
In this show there is a wide use of video, where images are projected onto the bodies of the actors, onto surrounding buildings and onto moving video.

 

Video projection, therefore, becomes an integral part of piece: not onto a stationary background, but a dynamic, changing, moving projection of video. The images are echoes of fantastical worlds merging with the machinery and scenery on stage.

 

The co-operation with the video-maker, Cristian Paraskevas, led to the design of evocative images and to the development of a multimedia language.

 

A language composed of multiple, carefully balanced levels, which captivates the audience.

 

THE MACHINERY
The use of machinery and objects follows on from and develops the research conducted by the company during all its previous performances. The scenery is manipulated by the performers who become both manipulators and actors/dancers at the same time.

 

The mechanical structures are essential in the constituent lines, but they are characterized by their ability to transform…before the eyes of the spectator. A large unicycle, a chugging, old sidecar, a gigantic skirt that turns into a cage, video screens in movement, a ship, a mechanical moon, towers on wheels, an enormous camera.

 

THE SOUNDTRACK
The show, according to the specific circumstance, can be performed with or without live music: 4 performers (voice, violin, accordion, clarinet and bouzuki) that will give life to the fantastic melodies of Nino Rota.

 

The soundtrack reinterprets some of the best music scores created by the great composer, explicitly defined by Fellini as “The Music”.

 

Other tracks have been created specifically for the show and they give rise to a kind of musical language whose rhythms and notes shape the dramatic course of the production. The live soundtrack is performed by Piccola Banda IKONA, a team founded by Stefano Saletti. The ensemble unites some of the most prestigious Italian musicians of world-music who come from Agricantus, Acustimantico, Novalia, Klezroym, Nuklearte.

STAGE AREA
Best Size: 18 m x 15 m required just for the performance area

 

Height above the stage: A height of 10 meters must be kept free for scenery structures as well as enabling the use of pyrotechnics effects.

 

ELECTRICITY
380 Volt, 5 pole plug (for light and sound)
32 Amp / 36 KW CEE
We use a lot of water during the show, so we need water-safe electrical cables.

 

LIGHTING
* 34 1000 watt PCs – (with flags and colours) – theatrical spot light
* >> no PAR, no 500 watt PC, no LED light, no multicoloured lights
* with the agreement of the group it is possible to use some FRESNEL lights
* 1 profile spot light, 1000 watts
* 1 follow spot, 2000 watts – positioned on an elevated point as we need the light to pass over the heads of the audience
* 1 24-way mixer
* 5 wind-up stands
* 2 frontal lifts
* 1 intercom
* cables

 

SOUND
* 1 6-way audio mixer
* 4 PA speakers with amplification + SUB – 2,500 watts
* 2 wedge monitors
* 1 lavalier microphone for VOICE (radio micro HEADSET)
* 1 D.I. box + effects
* 4 DIMMER X 19 CH X 2.5 kw
>> For further details about the technical rider, please CONTACT US

[ … ] The show combines different theatrical genres and uses several artistic languages such as dance, physical theatre and acrobatics [ … ] what the audience can see on stage is a miscellany of ideas and artistic inventions [ … ] breathing life into a unique atmosphere worthy of Fellini’s films [ … ]

Journalist: Sylvia Wilczak // Newspaper: Gazeta // Country: Poland

 

[ … ] A mix of acrobatic moments, video images and light effects inspired by the masterpieces of the director from Rimini [ … ]

Newspaper: Roma c’è // Country: Italy

 

[ … ] the show is a timeless, dreamlike journey [ … ]

Journalist: Salvatore Taras // Newspaper: La Nuova Sardegna // Country: Italy

 

[ … ] a show that leave the audience speechless, not only because of its pyrotechnical effects and waterworks[ … ]

Journalist: Alan D. Baumann // Newspaper: online review