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Many committees in defense of nature, the landscape, clean waterways, monuments and very important installations of worldwide reknown have bee in existence for a long time. We have therefore thought of establishing a "COMMITTEE FOR THE DEFENSE OF THE STAGE OF THE TEATRO ALLA SCALA", a stage which is historical heritage and which is only to be overhauled and not remade.This stage was made in 1937, by ing. Luigi L. Secchi, to an excellent project and perfectly executed, thus solving the problem of the scenic staging in the Theatre very efficiently. The mobile bridges and panels stage is an installation that works perfectly: the bridges have never jammed during the performances, they have never created problems or done damages and have always given the results requested. No theatre can boast having such a silent, working, precise stage such as the one of the Teatro alla Scala. The plant can make 144 indipendent movements altogether, each of which lasting only a few seconds: it is the expression of a hand-made theatre where the operator's sensibility makes the movements sure and exact. The Supervisor of the Architectural Property has given a negative opinion to the remaking of the stage because it is a historical property which should be handled only for maintenance reasons. A committee of professionals has been set up that intends building a level stage and not a sloping one as it is now. With a level stage, moreover, the stall audience will see "legless" to "half-bust" artists, etcetera, because of the prospective effect. It is strange that non control has been extended to La Scala technicians and no consideration has been given to the fact that a 18th century classic theatre, which offers first quality performances in the worldwide context, be submitted to a remake which is an object of violence. A second violence is not to respect the sloping stage because the Piermarini theatre, and all the 18th century theatres, have a sloping stage. Many scenographers of international reknown, directors and the technical staff of the Theatre, who know the stage potentiality, support the renvation of the old structures rather than have them eliminated ad remade anew. To remake the present plant does not mean moving the theatre on: automation and modernisation means increasing risks and unforeseen events as only a small breakdown, even the simplest one, is enough to jeopardize a performance. There are a lot of examples, in new theatres, of performances held up for a computer block, for a voltage drop, an increase in temperature or other casual reasons. The most striking was the one at the opening night of the Scala performance "Cristoforo Colombo" at the Carlo Felice theatre in Genoa, where the plants jammed. Or what happened and still happens at the Opera Bastille Theatre in Paris where their plants have jammed more than once. At La Scala the 1000kg. four whinces with electronic controls to lift sceneries, installed recently, are not trustworthy and they are always out of order for maintenance. On the bridges of the Scala stage (with a 6 metres run), without any difficulty and noise, sceneries from the most different artistic vocations and all requirements of Directors of every tendency are put up without the stage movement, during the assembling of scenery and open-sight scenery change, having caused damages or serius accident, as stated by the early checks of the Asl controllers. The Teatro alla Scala is only to be improved and preserved, as the French have done in Paris with The Opéra Garnier, renovating the historical, national traditional theatre and building the Opéra de Paris Bastille in a modern form with avant-garde techonolgies. On this 63 years old plant, even if faults should arise from the strain on a few pieces, it is always possible to replace or remake them anew, without asking contracts firms, as the operators know it very well and can repair it themselves. In such a way the bridges could go on working 60 years more.Considering that the stage is in perfect working order, silent, with the possibility of of moving scenery, non-existant in any other theatre in the world, and that it meets the modern scenery requirement as well, why should it be remade? The time necessary for a new project, with the risk of compromising the theatre and acustic irreversibly, being extremely long, we trust that common sense will prevail and the stage be only overhauled and not remade. |
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(schedafirme.pdf) to establish a committee in defense of the Teatro alla Scala at the "Come agire" page: open it with Acrobat Distiller (You can freely download it by going to www.adobe.com) print and send it at the address indicated in come agire page. |
