Orlando furioso

From Ariosto’s original poem to the present day, this is the story not only of the ill-fated Orlando, who fell in love with Angelica, and went mad, but also the story of the Christian armies that risk losing France without the help of their brave hero. It also tells the tale of how the deranged Orlando’s lost wits are recovered by Astolfo on the Moon and driven back into the body of their rightful owner, allowing him to resume his place in the ranks.

 

Through the use of videos, the audience is taken to the heart of the tale where the lost, furious and mad Orlando wanders aimlessly in an apocalyptic setting, hopelessly hunting for his senses. Videos and images are used to create a surreal atmosphere, leaving the audience dumbfounded from scenes of distant wars, of past or present conflicts…Images that have been reworked and presented as contemporary news reports. The comic-theatrical scenes are juxtaposed with the savage and sometimes cruel images conjured up by the videos: this contrast deeply characterizes the entire show.

 

Special guests:  Carla Tatò and Carlo Quartucci
Original Soundtrack composed and performed by: Piccola Banda Ikona
Staff: 8 actors + 2 technicians + musicians (if required)
Running time: 75 min.
Venue: this show is suitable for a large in-door space or a historical open space.
Languages: It can be performed in Italian or English or subtitled in any language using 3 wide screens.
Target: any age bracket. Understandable to an international audience. It can accommodate up to 1,200 audience members.
SUBTITLES required for non-Italian/English speaking audiences.

Ariosto’s chivalric epic poem comes to life with its chases, misunderstandings, fortuitous encounters, loss, galloping horses, the nobility of the spirit and pride in combat. The inclusion of comic situations is inevitable, creating moments of “theatre within theatre” in memory of the long-standing tradition associated with this genre. Winged monsters, magicians, old hags and magic spells create a fantastic imaginary landscape through which the characters move along a zigzag path in a story that has mankind at its centre and our never-ending quest for something that will give meaning to our existence.

 

Ariosto’s cantos and the moments of greatest interpretative impact are brought to live through the images and voices of Tatò/Quartucci. The religious war between the East and the West, as recounted by Ariosto, is transposed in a finale of strong visual impact with the projection of moving images of contemporary wars on the background screens, including wide shots and close ups, dancing bodies, machines in motion, in increasingly accelerated frames.

MUSIC
Music “assists” the action on stage but at the same time plays the role of the main character. The melody enriches the performance, which strives to be a complete, rounded theatrical event: a performance that unites several artistic fields in order to achieve a rich, innovative result, a show that is complete in every expressive medium.

 

STYLE
Three wide screens are used during the show to create settings and a system of scenery, which is unique in its genre. From surreal settings and dreamlike scenes with grotesque details, from harrowing images to contemporary reality. The use of video projection acts as a guide and cause for reflection for the audience and it accompanies stronger, more sombre images, and forms a direct dialogue with the live action on stage. Therefore, the relationship with the video projection is the characteristic element both in terms of still images and the motion picture version. During the making of the video specific scenes were created to be projected on screens during the performance. This was done in order to amplify the psychological dimension of Orlando’s madness, or to develop dreamy images, or to create surreal backdrops to the plot.

 

The video is characterized by the exceptional performances of Carla Tatò and Carlo Quartucci.

 

SCENE MACHINERIES
The scenery is made up of objects in movement and machines which have another value in the show: they are iron constructions on wheels, symbolic structures that echo knights in battle in the imagination of the audience, made of body armour, horses and clashing figures. Created and designed as ironed-clad moving sculptures, made up of an interplay of solid and void, with particular mechanical movements, the stage machines used are: a hippogriff, a enormous skirt, a pulpit, a mechanical theatre, trees, the sea, ships and horses.

STAGE AREA
Best Size: 12 m x 10 m and a height of at least 7 m left free to accommodate the size of the fixed structures and scenery.

 

ELECTRICITY
380 Volt, 5 pole plug 5 (for light and sound)
32 Amp / 36 KW CEE

 

LIGHT
* 25 theatrical spot lights – PC, 1000 watt – complete
* 8 beam shapers
* 1 24-way mixer
* Cables
* 06 dimmers 6 x 2.5 KW
* 01 control panel for 6 dimmers
* 01 lighting console, MX 48-channel, STRAND
* electrical connectors and accessories
* OUTSIDE: 2 wind-up stands or lighting tower ( for example the Thomas or Layer system) 3 stage lighting trusses above the stage area

 

SOUND
* 2 minidisc deck (brought by the company)
* 01 16-way audio mixer audio, MIDAS
* 01 DELTAMAX system (or analogue) 2,500 W + 02 subs
* 02 EV SX 200 monitors.
* 01 CREST 901 Amplifier
* 09 wireless microphones, SHURE UHF, headsets
* 01 effects rack (1 EQ.1 compressor, 1 reverb)

 

VIDEO
* 3 video projectors, 5000 ansi-lumen (one of which can be supplied by the company)
* SUFFICIENT cable duct space to position video system cables
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