The three Gobbi

Freely adapted dall'intermezzo Carlo Goldoni

Directed by Michele Modesto Casarin
dramaturgical conception and dramaturgy Marco Gnaccolini
Manuela Massimi, Matthew Fresch, MM Casarin, Emanuele Fortunati
music performed live by Andrea Biscontin (tenor), Alberto Maron (harpsichord), Ilene Tosatto (soprano), Giulia Zoppelli Cascio (violin)
ideation and realization costum the Licia Lucchese, Alessandra Dolcemaschere Roberta Bianchini
Theatre staging THE PHOENIX

a Pantakin production and WOODSTOCK COMEDY THEATRE
in collaboration with TEATRO LA FENICE, and the Conservatory of Music "B. Marcello "in Venice

"I have lost afterwards entirely the first intermission for which I had little care of my things, and I also lost the second but was it preserved by some one, and I saw him after qualch'anno be in Venice ..."
Carlo Goldoni


The show
In the first episode, The three humpbacks, narrated and filtered from the comic and grotesque play of comedy masks, there are debts, famine, misery, poverty, social redemption and "love in the company" to act as a thematic ingredients, with Goldoni told to He is taken of a debt problem contracts because of too much desire to attend the nocturnal world of a fascinating and damned Venice.
The episode's story also tells of the birth fulfilled within the homonymous Goldoni intermission with the help of unlikely players, and intermingling with the inspiring tale of Straparola, important Venetian fabulist of the '500 who collected many stories the people of Venice and made a personal collection of fables.
The project involves the use of experienced actors in Commedia dell'arte and the involvement of young professional musicians trained at the Conservatory of Venice; then you want to bring together the different specifications of the performing arts examined by Goldoni (dramatic music and Theatre) mask in a single performance moment, carried out by a work team that comes from the union of different realities of scenic art of the city Venice and the territory (and WOODSTOCK Pantakin COMEDY THEATER).
The proposed Notturno Goldoni also wants to be seen as an activity of cultural promotion and preservation for the rediscovery of a kind of opera that threatens to sink into oblivion of forgetfulness; revive the genre intermezzo would keep alive a dramatic and theatrical tradition that strongly marked the history of music and opera, approaching with lightheartedness and playfulness to more serious works on the program that was precisely intermission between acts.
In the review of the booklets and adaptation of their plots that takes a look at the historical context of the events, there is also the possibility to make known the history of the eighteenth century Venice and its theaters, and especially the world and social and productive dynamics of professional companies in which the performing arts come to life. This project is also thought to be a means of publicizing a part of the history of Venice, now it disappeared these days but that can live again in an hour of play.