With pain and bringing with him a sense of defeat he goes away after 40 years as a protagonist of the theater in the city Giancarlo Cauteruccio. The memory of his performances kept in the theatrical dictionaries, The Aeneid, One none one hundred thousand, The flight of the angel, and then his Beckett and his Pinters, his 25 years at the Teatro Studio in Scandicci, go away boxed with books and memories. We return to Calabria, his homeland, to «start afresh from nature and myth». Krypton, his company, remains in Florence for another year “to follow up on ongoing projects and to fulfill the necessary paperwork, then in 2022 I don’t know”.
It is not the usual Cauteruccio who gathers the press at the Murate to bid farewell to the city “where I arrived at 19”. “I’m going away – he said – for the pain that this city has created in me in recent years, to safeguard the little bit of creativity that has now been massacred, to take a burden off the mayor Dario Nardella already overburdened by the management of a city that suffers from so many problems” . Taken by the fear of making a mistake, the director, who already in the 80s used a language capable of mixing the arts – words, music, architecture, technologies – this time does not speak off the cuff.
«You know my experimental challenge that took place between the end of the 70s, 80s and 90s and that long journey made from ’91 to 2005 in Scandicci. You know the defeat of the Teatro Studio – he added – that he was a bit like a son for me who didn’t have any children, that’s it the first real responsible for this defeat is the Teatro della Toscana“. The thrust against the top management of the Florentine theater is violent: “Since that experience in Scandicci ended (it was 2015 when the era of the Italian theater organization ended and that of the national theatersli and the Teatro Studio di Cauteruccio was ready to pass under the aegis of that of Tuscany ed) kept me away from the stage despite my many proposals. The blame for what I call a cultural disaster for this territory is undoubtedly to be attributed to the Teatro della Toscana, which took over from Krypton in the management (of the Teatro Studio ed.) in 2016. I found myself out of any city stage if we exclude the Alekos’ captivity made at Niccolini and postponed for three years to be staged ».
He remembers what has happened in these five years like this: «I have produced a series of shows with increasing difficulty». The one on Brunelleschi at the Innocenti, the one for the thousand years of San Miniato al Monte, some collaborations in Maggio, up to the last work, In Divine Proportion, always on Brunelleschi, chosen by the foreign ministry to represent Florence abroad. «A work shot at the Pergola but which at the Pergola they did not want to put on the bill. I was proposed by the councilor Tommaso Sacchi to do a video mapping of the theater. An offer for which I thank him, but which I cannot accept, in that street there is not even the space to realize it and see it with ease ». He goes away, thanking the Region “the only institution that has continued to support me over the years” and leaving some questions. «I wonder why the Teatro della Toscana has not involved any Florentine director in its design since it was born. I wonder why Florence, which could and should be an international laboratory, is no longer an international laboratory ».
He also leaves in abeyance a project that he presented already a year ago. To celebrate Dante’s year, he had proposed to recreate the poet’s true tomb, that neoclassical temple in Ravenna, in Piazza Santa Croce. “I don’t know what will happen to it, the only institution that offered to face part of the costs was the Region.” Now it’s time to leave.
March 24, 2021 | 07:12