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1984 / 1988
The theatre citadel

Manifesto 1984
Campagnoli

 

RIn 1984 Roberto Bacci is re-elected art director.
The first edition of that that will be a five years run is provocatively called “The last edition of Santarcangelo Festival” and raises questions both about the outside – the institutions – and the inside.
In time an identity with no scratches has been established, but artistic needs deeply bound to political and social dimension make the structure partly stiff.
In a context of great crowd with companies’ demand for participation, the debate finds a place among media.
“Don’t think about a coming festival but about the Festival’s future” is what Bacci suggests.
Then, for the regeneration and enlargement of what has become a workshop for theatrical culture, comes forward again the hypothesis of an annual activity which widens the limits of the summer event and reinforce planning possibilities.
Representatives of this tension (which already took place at the Theatre Culture Institute directed by Teatro di Ventura in 1978) will be, at first, the image of a citadel, then that name which since 1986 onward marks the Festival’s statute and all the projects bond to Santarcangelo dei Teatri.
Around the art director do their best professors and leading personalities of culture among whom Claudio Meldolesi, Ferdinando Taviani, Piero Meldini, Raimondo Guarino, Piergiorgio Giacché, with Dario Fo and Els Comedians as forerunner of this Bacci’s new era.


Santagata e Morganti
1984
(click to enlarge)
Bustric
1988
(click to enlarge)
Societas
Raffaello Sanzio
1988
(click to enlarge)
Of these years is the “horse issue”.
New Italian groups, turned away from the Third Theatre and bearers of fresh languages with a strong aesthetic value, have made their way in the Festival planning.
Thus, beside Odin Teatret, Akademia Ruchu, Teatro Nucleoad Teatro Polach appear Società Raffaello Sanzioand, the already mentioned Teatro della Valdoca and Albe, Parco Butterfly (Virgilio Sieni), Enzo Cosimi, Marcido Marcidorisand just Magazzini Generali, authors of an historic Genet in Tangeri set into the slaughter house of Riccione, where the killing of an horse destined to be slaughtered was put in the performance’s dramaturgy.
The outcry caused by this event rouse a rage of interventions from intellectuals and artists such as Enzo Biagi, Giorgio Albertazzi, Ugo Volli, Dario Fo, Franco Quadri, Carlo Infante, Ferdinando Taviani, Giuseppe Bartolucci and Antonio Attisani.

Artistic presences standing out from the others are those of Thierry Salmon with her unforgettable Troiane, Antonio Neiwiller’s Teatro dei Mutamenti, Ariane Mnouchkine, Manoel De Oliveira, Leo De Bernardinis, Mario Martone, the gipsy circus Zingaro, Silvio Castiglioni, Raul Ruiz, Robledo Delbono, Jerzy Stuhr, Judith Malina and Jerzi Grotowski.