Teatro Nuovo Napoli

HISTORY

The Teatro Nuovo in Naples, now recognized as one of the historical places of the experimental theater in Italy, is located in the heart of the Spanish Quarter, and precisely in via Montecalvario, in a space that since 1724 was for 200 years home to glorious musical works. It was built by the will of the businessmen Giacomo De Laurentiis and Angelo Casale and the project was developed by Domenico Antonio Vaccaro, son of the sculptor Lorenzo. In conceiving the Teatro Nuovo Vaccaro gave proof of extraordinary ability, because the space available on the street was very little and the new building was to take the place of a garden. The result was remarkable. The theater, which became famous with the comic opera, was destroyed in 1861 by fire. Ulisse Rizzi architect he remade the facilities and the Theatre revived, although it soon became clear that he would not have the same prestige. Renovated in part and made clear and bright from the restoration, he became one of the theaters where it was possible to successfully represent the best of vernacular prose. But the theater hosted not only the magazine and comic theater (from Viviani to Totò, De Filippo), but also shows of varied art that did emerge many young rising stars of the Neapolitan theater. The New was once again destroyed in 1935 by another fire. Only in 1985 the Teatro Nuovo rise to accommodate the research shows and experiments under the guidance of Igina Di Napoli and Angelo Montella who directed the New Theatre until 2011. In 2012 the direction and management of the Teatro Nuovo are passed to the Public Theater Campano, the Regional Theater Circuit Campano, directed by Alfredo Balsamo.

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THEATRE NEW TODAY

Located in the heart of Naples, a few steps from the central Via Toledo, the Teatro Nuovo property rises as a kind of "cultural outpost" that challenges the contradictions of a city suspended between old and new vocations, making oneself interpreter, and has carved, in time, the difficult role of embankment to the socio-cultural degradation of the Spanish Quarter and recovery at the same time, all forms of theatrical communication.

In fact, in the long course of its ancient and recent history, the Teatro Nuovo has repeatedly changed his skin, for a series of unspeakable vicissitudes, it has consistently sought to rise from its ashes with greater vigor to keep faith initial assumption which is basically to act as cultural presence in a complex territory, crossing one by one all kinds of live entertainment, from opera buffa to the magazine, from the comic to the tragic production, and passing easily from prose of national and European avant-garde to the dialect of our best traditions, contemporary theater research to experimentation of new theatrical languages, always with the intent to exploit the emerging professionalism of varied theatrical microcosm, which have found a right of citizenship and concrete opportunities for work. A heritage so important, which is a strategic asset of the theater sector not only in the city of Naples, but also the Italian scene, could not get dissolved even more when in our city are challenged many of the structures and cultural initiatives. That's why the Teatro Pubblico Campano, intended to redouble its efforts to detect, from the theater season 2012/2013, the direct management of the Teatro Nuovo, modernizing the structure, reinvigorating the tradition and reviving the vocation as a place of experimentation, research and encounter, which has done over the years. Not surprisingly, the structure, which has seen the birth and establish itself as authors Ruccello, Moscato, Neiwiller, directors like Martone, Servillo, Latella, will host a permanent basis a series of works of contemporary art, with the intent to secularize the fruition of modern visual arts, often relegated to the deputies areas of specialized museums and, for this, a little 'distant from the big numbers that the theater, fortunately, is still recorded on our territory. There seemed, just at the start of the current theater season, the most immediate and effective way not only to boost the image of the New Theatre, with this sort of bold contamination, but also to indicate a possible route to those at the level national think the theater can thus continue to perform the function that is its own, which is to "train" the public through a series of emotions and suggestions, albeit of different sign, which, however, have in common that ripen all in a context of collective reflection.