Scenografia & Costume, the magazine of our dear Italian collegues is out now!
Even though the magazine focuses on theatre and opera, it is all the more appealing for film dudes to think outside the box and marvel at the diverse theatre and opera scene with the work of their colleagues in costume and set design.
Read more and get your digital copy here!
Thanks to the many festivals and various events that took place across the Peninsula over the summer, the Issue has a lot to cover!
In Milan, La Scala premiered Il Nome della Rosa, an adaptation of Umberto Eco’s famous novel directed by Damiano Michieletto (sets by Paolo Fantin and costumes by Carla Teti); in Venice, a series of performances selected by Willem Dafoe for the first Biennale Teatro under his direction took place; in Spoleto, Monique Veaute led the Festival dei Due Mondi for the last time; in Naples, Ruggero Cappuccio, at the helm of the Campania Teatro Festival since 2017, dedicated the edition to a call for solidarity among peoples; in the heart of the Archaeological Park of the Roman coast, the Teatro Ostia Antica Festival debuted, with a program of classics and contemporary works; and at the Roman Theater in Verona, the Estate Teatrale Veronese presented, among the many titles by the Bard, The Tempest, directed by Alfredo Arias (sets by Cappellini&Licheri and costumes by Daniele Gelsi). And then there was great international cinema in dialogue with Italy, from The Old Guard 2, shot in Italy with production design by Paki Meduri, and Sarah Bernhardt, La Divine, with unforgettable costumes by Anaïs Romand, to Balentes, the splendid animated film by Giovanni Columbu. The exclusive must-read interview with Patrick Tatopoulos, the brilliant production and creature designer responsible for many of Hollywood’s most iconic “monsters” in recent years. Not to mention the exhibitions, all three dedicated to high fashion, and the report from the Biennale Architettura.
This and much more to discover in issue 32 of Scenografia & Costume, now online.