The Theatres of Sylvano Bussotti – 4

Giovedì 12 ottobre ore 9.00-18.00

Thursday 12 October from 9:00 a.m. to 6:00 p.m.


Florence and Tuscany. Staging, Artistic Organisation

Meeting curated by Mila De Santis – Department of History, Archaeology, Geography, Arts and Entertainment (SAGAS), University of Florence

‘Pegaso’ inter-university doctorate in History of the Arts and Entertainment

In collaboration with the Museo Novecento, Teatro dell’Opera of Florence, mdi ensemble

Official welcomes: Valentina Gensini, Stefano Zamponi, Andrea De Marchi

Participating: Maria Ida Biggi, Moreno Bucci, Mila De Santis, Stefania Gitto, Renzo Guardenti, Jürgen Maehder, Michela Niccolai, Carlo Sisi, Ivanka Stoïanova, Daniela Tortora

A study day at the Museo Novecento concludes the cycle of events dedicated to the theatrical universe of  Sylvano Bussotti that was launched in Palermo in November of 2015 with a restaging of his debut work, La passion selon Sade, on occasion of the 50th anniversary of its first performance at the ‘Settimane Internazionali Nuova Musica’ of Palermo on September 1965. The cycle continued with meetings-concerts held in Rome (September-October 2016) and in Milan (May 2017) devoted to the Bussottioperaballet experience and other significant milestones in Bussotti’s multifaceted, polymorphic career as a music theatre composer.

The Florence meeting, in which Italian and foreign musicologists, theatre historians and art historians will be taking part, will trace salient moments of Bussotti’s time in Florence and Tuscany beginning with the years of his musical training: the network of personal friendships and professional relationships he developed, the stagings of his works at the Teatro Comunale of Florence, the course in theatrical composition at the Scuola di Musica di Fiesole, his experience as metteur en scène at the Festival Puccini in Torre del Lago. The enquiry will then extend to other stages in his career as an opera director and actor and call upon never-before-seen documents to delineate Bussotti’s complex ‘theatrical practice’, made of the meeting of different disciplines, texts and languages and a cooperating cohort of interpreters, musicians, artists, choreographers, dancers, mimes, actors and directors: a weighty heritage from which we, today, can still draw, from the dual points of view of criticism and future production.

Admission to the museum is not included.

Free booking: