class="">Matteo Bavera: “Inter-cultural exchange is vital”

Matteo Bavera: “Inter-cultural exchange is vital”

Matteo Bavera is, since 2000, the artistic director and manager of the Garibaldi Theatre of Palermo, Sicily. In the past few years, the theatre hosted a number of productions by important names of European Theatre: Carlo Cecchi, Emma Dante, Peter Brook, Antonio Latella, Wim Wenders.

31 October 2014,  Articles

Matteo Bavera is, since 2000, the artistic director and manager of the Garibaldi Theatre of Palermo, Sicily. In the past few years, the theatre hosted a number of productions by important names of European Theatre: Carlo Cecchi, Emma Dante, Peter Brook, Antonio Latella, Wim Wenders.

An interview by Judy Florescu

Being in Bucharest these few days, as a guest of the National Theatre Festival, Matteo Bavera spoke to us about the differences between the Romanian and Italian theatres, about the kind of shows Italians prefer and about the productions which piqued his interest within the 2014 NTF.

Which were the shows which impressed you most in this NTF edition?

I so far saw six shows, and the one that impressed me most was “The Belgrad Trilogy”. I very much enjoyed the show’s script and, at the same time, I found a troupe of actors who are very young and very good, with whom it seems easy to work. I believe they are the sort of actors with which any kind of show could be staged. I would very much like to make a Shakespeare with them, I think that would be fun.

What’s a feature of Romanian theatre, from what you’ve seen so far?

I think a feature of Romania is the fact that the actors are very good. I know this because we repeatedly hosted at the Garibaldi shows from the Bulandra Theatre. They also have extraordinary actors, with very good shows by Ducu Darie. But I am chiefly impressed by the “Belgrad Trilogy”! I felt it was worth travelling from Palermo to Bucharest just to see this show.

Do you consider inviting Romanian shows at the theatre you’re managing?

We are now discussing inviting a show from the Sibiu National Theatre, and another from the Cluj National Theatre.

What is the European Theatre Union and how does it act to benefit the member theatres?

The European Theatre Union was founded in 1990. There are 21 members, amongst which the Garibaldi Theatre of Palermo and the Bulandra Theatre of Bucharest. The purpose of the Union is to facilitate the links between the European theatres and to ensure a permanent cultural exchange.

What are some of the current projects from the theatre you manage?

Now, in Italy, we our work method involves theatre projects. We are rehearsing a show on terrorism. And then we’ll have an even bigger project, funded by The European Theatre Union, about the conflict areas. The Union received a project structure, which is implemented in as many as 5-8-10 theatres all at one. It depends on each theatre’s interest on the specific theme of the show. We’re particularly interested in political theatre.

Do you think it important that theatre projects travel from country to country?

I believe that intercultural exchange is vital. We are accustomed to immigrants. I think you have to be very much alive to visit a foreign country.

Have you noticed some differences between the Romanian and Italian theatres?

I think Romanian theatre is, from what I’ve seen, very similar to that of Germany. You have troupes of actors who constantly work for the same theatre. In Cluj, I’ve seen actors playing three shows a day; this sort of thing doesn’t occur in Italy. We don’t have acting troupes permanently working for a theatre.

I can’t say if it’s better for theatres to have a stable team or not but- surely- the working environment is better where there’s an established troupe. Back home, shows are played for one theatrical season and then the troupe moves to a different theatre altogether. Here, there are shows which have been played for five- seven years, proving that they are still alive and that they don’t die immediately, as is the case in Italy.

Photo: Adi Bulboacă