Pino Perri, Owner of PrintMateria meets Mirko Artuso Artistic Director of Teatro del Pane
Do you have to make compromises to carry out projects you believe in and to achieve your goals?
I’d like to say no. Creativity has no limits and will never be limited in any way, whether financially or politically. It is not necessary to compromise in order to create. Creating a show, a film, or a drawing is an alchemy of everything life has to offer. Like pieces of a puzzle that can be solved for spectators, we connect “feelings”, creating something together as if part of a ritual that both involves and excites them. This is why art has no limits.
Of course, there are fundamental questions that would be worthy of being researched in depth concerning the relationship between art and the market or art and political management or even, art and public funding, but this is neither the time nor the place for it.
How does it feel when you’re close to making a big début? It is possible to suffer from creative block?
It’s not as easy as you can imagine to sustain the pressure of a début but the important thing is to embrace that moment feeling prepared and calm, confident in knowing that you have done the best you could.
A very intimate relationship exists between our needs, the urgency that drives us to choose to create one work over another, and a strong conviction of being a worthy cause which keeps us going. There is a deeply held belief on which we base everything and if this fails to support us, then we can suffer from a creative block.
Has a young emerging actor captured your heart?
His name is Simone De Rai and the entire Anagoor company received the Silver Lion award at the Venice Biennale. I see their steps as the steps of a child. They had the perseverance, tenacity and strength to believe in their project. This strength comes from far away, from when students of Giorgione High School in Castelfranco followed me in everything and absorbed the secrets of their trade like sponges. We’ve walked a long road together and I’m proud of that. They too, with their Conigliera, like me with the Teatro del Pane, or Mario Brunello with his Antiruggine, have created a dream that is increasingly necessary in these dark times we live in.
I hope to always have this inner strength and I undertake to create new opportunities for many young talents to build up their own strength and perseverance for their début.
Teatro del Pane – 2018/2019 season accounts
We closed the sixth season with a sold out show and this fills our hearts with immense joy. In fact, this sixth season has been the season of sold-out shows in particular (but not only) with regard to teatro del pane productions designed and staged by me with the involvement of experienced and renowned artists. We have scheduled 72 events between Theatre, Music, Cinema, Author Meet-and-Greet, from the beginning of October to the first half of April.
What does the relationship with the public mean for a theatre like yours?
It means building a relationship of trust with the public. It means, together with the public, adding to the identity of this place that produces and hosts artists of great professionalism and talent that I will forever be grateful to for the generous support they show every time. We had with us Marco Baliani, Cesar Brie, Marco Paolini, Giuliana Musso, Natalino Balasso, Banda Osiris, Fratelli Dalla Via, Antonella Questa, Anagoor, Massimo Cirri, I Papu, StivalaccioTeatro, Andrea Pennacchi, Rita Pelusio, Laura Curino and many others who are equally as skilled and important that have not been mentioned due to a lack of space. Friends and colleagues whom I greatly respect and who also made this season at Teatro del Pane extraordinary. Artists who find a “home” that welcomes them and a sensitive and attentive audience.
Has the Teatro del Pane project changed over time?
The Teatro del Pane project is constantly changing. It changes as there are changes with regard to the people involved in it and also because it adapts to its spectators and follows the ideas and proposals that artists with their art offer every night is dynamic. Being its artistic director means that I get to appreciate its rich heritage and know how to interpret it as I also change in turn.
As I said, our productions under my direction have given us excellent results and I will certainly keep this specificity in the programming. Of course, there will also be new productions that will also involve other local and non-local artists. My wish is to introduce a consolidated method in most of Europe: that of long-running shows (where shows are replicated or performed during a long time) in order to give the public the word-of-mouth guarantee and to provide artists with a point of continuity. At the Teatro del Pane the audience comes mostly from the neighbouring provinces of Padua, Vicenza, Belluno, Pordenone even from the province of Verona so this gives me hope. Major innovations for this 2018/19 season have been in the kitchen with excellent results and rewards. Many spectators come to this theatre without knowing what they will see exactly, they trust in the quality offered in its scheduled shows of the previous last six years.
How much has Mirko Artuso changed since taking on the role of director of Teatro del Pane?
More than changed, I’d say matured. It’s an engaging and exciting experience for me and I have to say it’s very complex, but I don’t like easy things. It is a matter of reconciling very different audiences, of understanding how to balance evenings as an evening at the Teatro del Pane is a unique experience made up of various ingredients. It’s like putting on a new show every time. We can do everything possible at our end, but we are also aware that the other half of an evening’s success comes down to the public.
To what extent do you think theatre and business can be reconciled?
If it wasn’t possible, we’d be done by now. The only source of sustenance, the only funding is the contribution of members which is of vital importance to us as you can easily guess. This is a very interesting and certainly stimulating challenge. I have been attending theatres all over Italy for 30 years and I have to say that some enjoy an excellent situation while others without public funding have been closed for years. What we are gradually defining at Teatro del Pane (due to the everyone’s work and I repeat also to artists’ generosity) is a new and specific model with ample room for improvement and that can certainly be applied on other occasions. This means that the attention to waste and a sincere and forthright relationship with the public are foundation pillars and make everything possible. Many companies are sensitive and attentive to the development of projects such as Teatro del Pane; PrintMateria is first and foremost, providing support and helping with great generosity
When you left it was not easy, what have you changed over time?
We learned from our mistakes without getting discouraged.
Thanks Mirko, I appreciate the courage and passion that fuels your work, the seedlings of ideas that nourish us and brings us closer to the mother earth; the “crops”. The bread and butter, feeling through well represented moments on-stage the existence of your “place/logos”. I hope that with PrintMateria’s support, Teatro del Pane will always be able to reach new and bigger goals. Thanks again Mirko Artuso