There was a boy who loved the Beatles and the Rolling Stones, but this is nothing new
Yet if this guy was also a football player, a player of Turin a bit 'artist, if there were under his feet innuendo in the first 60 years' engineering and recklessness on the launching pad, if it were football player but even he was painting pictures, write poems? All this is reality, this was Gigi Meroni, right wing of Turin, but especially a big heart: love Kristian, with which the princess lives in the attic, loved to madness up on the altar to hinder the marriage of convenience forced her . Meroni, a Polaroid of a boy dressed in the Beatles, George Harrison a robin, with a chicken on a leash through the streets of Como's, a seventeenth century or in the streets with blue disguise as a fake journalist to ask the people what they thought of him. Sweet and melancholy, almost a fairy tale, calling him the player beat the grenade butterfly, butterfly flew away too soon, at age 24 when, after a Torino - Sampdoria 4 - 2, was hit by a car. oestrus seems to be a literary history in itself, a human story of the past, an old face Italy with soap and water to the discovery of a freer spirit, outside the rules imposed. So carpe diem, carpe diem today: "art attack" could not miss, and that's served the coup de théâtre. Composed on a text da Barbara Cast 
amagna è nato lo spettacolo Gigi , una sorta di reading interpretato da Massimiliano Giacometti con uno sfondo che ammicca al teatro canzone grazie alle musiche di Roberto Seccamani sullo sfondo di un mirabilia anni 60’. Il video-reprise riportato qui sopra, ideato da Ivo De Palma , storica voce del doppiaggio milanese, è pure essa parte di questo mondo teatrale, fu sotto la regia di Giacometti all’ EIKONTEATRO di Torino in veste di attore dello spettacolo “Onda di Piena”.
amagna è nato lo spettacolo Gigi , una sorta di reading interpretato da Massimiliano Giacometti con uno sfondo che ammicca al teatro canzone grazie alle musiche di Roberto Seccamani sullo sfondo di un mirabilia anni 60’. Il video-reprise riportato qui sopra, ideato da Ivo De Palma , storica voce del doppiaggio milanese, è pure essa parte di questo mondo teatrale, fu sotto la regia di Giacometti all’ EIKONTEATRO di Torino in veste di attore dello spettacolo “Onda di Piena”. Un mondo, un sottobosco quasi, quello delle piccole produzioni teatrali spesso ai margini dei riflettori, ma così pregnante da meritare un approfondimento. Tento qui di farlo in questo post a due voci riportando le impressioni di questi due protagonisti uguali e diversi: Massimiliano Giacometti attraverso una nostra conversazione fatta via mail e una mia intervista a Ivo De Palma e la sua attraverso forma e sostanza del suo spoken words su You Tube.
Cominciamo dalla regia di Giacometti,figlio e socio fondatore del Teatro Studio di Torino, intriso di coralità ed estro civile. 
What I can say about me as a director? I like the theater ensemble, where the strength of the group and the group mean when I mean all the players the technical musicians ... where the word and the movement of bodies is essential, where poetry and enchantment make us sigh and make us move. I like the theater used to make us think about collective memory and common life. This is the theater that I love ....
This desire to tell Gigi goes a long way before even thinking of being an actor. As I always say to those who ask me why someone like Meroni. I always reply the same way: I do not like regular people, I like the "twisted" (Pass me the term). I find that the "wrong" to have many small and big things to say and do that others do not. They are people who live, say, 2 meters high, are blessed with good fortune of doing things that may be, for someone: extreme ... but great. Gigi was one of them. I found confirmation of meeting some of his teammates then my research in writing the text. Fossati, Poletti (his inseparable friend) Vieri, Rosato and others have told me many anecdotes and stories can be heard by them, as Gigi did everything very natural not forced, not exaggerated to talk about himself ... he was capable of go out with a chicken on a leash, was able to draw i vestiti, di avere una fidanzata “irregolare” (scandalo per quegli anni) di dipingere, tenere la barba e i capelli lunghi quando altri, nel mondo del calcio non l’avrebbero mai fatto allora, ma non per esibizionismo ma per naturalezza esistenziale, per stare bene con se stesso.
Lo spettacolo è nato da un’esigenza. Io, ho sentito l’esigenza di portarlo in teatro perché, prima di tutto: mi piacciono le storie, mi piacciono le storie di personaggi veri che in qualche modo hanno segnato la nostra esistenza e dove ogni uno di noi ci si può ritrovare e poi perché mi piace riflettere sul passato per capire meglio il nostro presente. Mi piace non dimenticare perché credo che la memoria sia ancora ciò which we have bigger. I think, to cultivate the memory makes us feel less alone in this society where the value of today no longer exists. The memory / history is an important value for generations to come. Telling the story of man and Meroni player may be an incentive for kids who are entering the world of football and life, Meroni Telling the story of us understand that football today and everything that revolves around: interest, scandals, etc.. is not the real world but is now something distorted. The show starts from his days in Genoa, until the day of his accidental death in Turin, covering the highlights of both lives. As you read in the director's notes, not about baseball player (I was not interested) Meroni talking about inside and outside the game of football, people who met him, ordinary people who saw him play from afar and identifies herself as a rebellious figure might appear, talking extraction and creativity, of great simplicity which distinguished him of great human sensibility, speak of love, Gigi as Leandro. Kristiane as I was. Their history as a greek myth. Never forget about his roots in a sample that represented the spirit of an era of its unconventionality and creativity had the power and freedom that he loved. Talk of a child who wanted to be a minute Meroni, with the number seven jersey on his back (I)
Lo spettacolo è nato da un’esigenza. Io, ho sentito l’esigenza di portarlo in teatro perché, prima di tutto: mi piacciono le storie, mi piacciono le storie di personaggi veri che in qualche modo hanno segnato la nostra esistenza e dove ogni uno di noi ci si può ritrovare e poi perché mi piace riflettere sul passato per capire meglio il nostro presente. Mi piace non dimenticare perché credo che la memoria sia ancora ciò which we have bigger. I think, to cultivate the memory makes us feel less alone in this society where the value of today no longer exists. The memory / history is an important value for generations to come. Telling the story of man and Meroni player may be an incentive for kids who are entering the world of football and life, Meroni Telling the story of us understand that football today and everything that revolves around: interest, scandals, etc.. is not the real world but is now something distorted. The show starts from his days in Genoa, until the day of his accidental death in Turin, covering the highlights of both lives. As you read in the director's notes, not about baseball player (I was not interested) Meroni talking about inside and outside the game of football, people who met him, ordinary people who saw him play from afar and identifies herself as a rebellious figure might appear, talking extraction and creativity, of great simplicity which distinguished him of great human sensibility, speak of love, Gigi as Leandro. Kristiane as I was. Their history as a greek myth. Never forget about his roots in a sample that represented the spirit of an era of its unconventionality and creativity had the power and freedom that he loved. Talk of a child who wanted to be a minute Meroni, with the number seven jersey on his back (I)
Andando a solcare più da vicino, il senso corale della creazione, il piccolo scrigno di Gigi svela una realtà corale alquanto entusiasmante per il suo sodalizio in fieri,molteplice e variegato. Che lo spettacolo nasca da un testo di Barbara Castamagna, non è una casualità: Barbara è stata preziosissima in tutti i lavori che abbiamo fatto insieme. Pensa che questo testo l’abbiamo scritto, a distanza. Dopo che lei si è sposata ha seguito il suo amore in Slovenia e quindi ci siamo mandati i vari pezzi tramite e-mail. Solo con l’affiatamento e la sintonia riescono tali cose. Ci sono altre persone molto preziose in questo spettacolo che ogni una si è appassionata a modo proprio: Stefania, Francesca, Augustine, and the inevitable Ivan Fabio video.
The association of a musical concept, it is easy to say: Well ! It was very simple with Roberto Seccamani addresses on the songs in those 60 years' emphasized the musical landscape. They were songs that were more in vogue, where children are recognized and where Gigi, a young of those years he was connected. Gigi was a fan of the Beatles and the Rolling Stones.
This is what it describes as the "visible" is the passion for the realization of this small gem of theater, but the list of names could go on forever: Alessandro Baricco , Laura Curino , Ermanno Eandi and Richi Ferrero . They are great friends who, once they learned of my desire to build a text on Gigi gave me that every one of the pieces he had written at different times through memories. This lets you know what this character has remained imprinted on the cultural fabric of Turin. Well you know that actors and writers are all in Turin.
And then, the sad note breathes the air of crisis in that strange gear mechanism between art and technical that the effort of each work must take into account: Unfortunately, as you well know with the known cuts culture has become increasingly difficult to make do with a certain continuity in the work. My job is to Gigi about a year stopped because of serious proposals. I have had many promises but few have been kept unfortunately. Here I enter into a much broader discussion that some pages would not suffice and I will not bore you. He has written well Ivo su come anche la stampa latita sui lavori teatrali torinesi.( vedi intervista a seguire,ndr)
Per tornare allo spettacolo di Gigi voglio salutarti e ringraziarti di questo tuo interessamento grazie anche all’amico Ivo con il bellissimo video e la sua splendida voce.
Per tornare allo spettacolo di Gigi voglio salutarti e ringraziarti di questo tuo interessamento grazie anche all’amico Ivo con il bellissimo video e la sua splendida voce.
Augurando davvero a Massimiliano e a tutti i suoi collaboratori che Gigi possa avere un nuovo,rinnovato e più maturo ribattezzo in teatro, sposto il solco di questo post su Ivo De Palma, nella sua puntigliosa analisi recitativa quanto da video maker come di recente si scopre sul suo canale di You Tube .
Massimiliano Giacometti and Barbara Castamagna.sono the authors of this theatrical homage to the myth of Gigi Meroni, was staged recently. Your spoken words revises the introductory video of the show. How did this project?
Before each replica of the show, Maxine and Barbara had decided to project a video that gave some details of how emotional he would be told on stage. Filming the small Fabio, with the intent to impersonate him Gigi child, edited the film and brought it to me. I worked out the image to give it a slightly 'retro and engraved in my studio la voce di Massimiliano, che cominciava la narrazione sul filmato per poi proseguirla dal vivo in scena.
La cosa finì lì.
Qualche giorno fa mi ritrovai per le mani questo materiale, facendo un po' l'inventario di quanto giaceva sul computer, e mi parve l'ideale per una nuova scorribanda, che oltretutto poteva in qualche modo rianimare l'interesse per il progetto di Massimiliano e Barbara. Quindi presi il filmato e lo arricchii con immagini d'archivio del vero Gigi Meroni, reincidendo il testo con la mia voce per vedere che cosa ne veniva fuori...
Gigi, la farfalla granata, il calciatore beat, un po’ calciatore un po’ artista simbolo degli anni Sessanta tutti italiani. « Era un simbolo di estri bizzarri e libertà sociali in un paese di quasi tutti conformisti sornioni », così lo definiva Gianni Brera, e tu, per quanto onirico possa essere il tuo ricordo diretto di quell’emblema o anche nella coscienza consapevole di oggi, come lo definiresti?
L'effetto che il suo mito arriva a scatenare è straordinario. Lui, che per l'epoca era decisamente controcorrente e all'avanguardia (era tra l'altro anche ottimo pittore), è in grado, al giorno d'oggi, di farci vagheggiare nostalgicamente il tempo in cui il calcio era un'altra cosa. E' una sorta di ideale anello di congiunzione con quel mondo, una figura che consente anche a quelli della my generation to preserve some memory of that period. Know how to tell a story like that, it is important, because most young people have no way of knowing what has changed since then, except through testimony of this kind.
setting of your acting this time if the whole play in a flowering on tiptoe, we also naive due to the small frame with Fabio only a football field. One could say that Nouvelle Vague ... See, but when it comes into contact with the soul of a text as the basis for mentally display video from concept to achieve and how it happened in this case?
In this case the video already existed. What I was looking for, being a video that in this case was self-sufficient and not to introduce a spectacular success, was the real Meroni, evoked by archival images processed in the same way a little 'retro, so as to give the impression that that child was just Meroni. The acting was trying to be more gentle and spontaneous than usual, though not without sharply when time and rhythm of the words become tighter, as if to simulate a real-time commentary. In this, moreover, as I was driving under the heading of the same Maximilian, who had read the first edition of the song in the video.
And Gigi returns to speak of pure drama, theater. We begin, in short, with your technical opinion on the work of Max and Barbara ...
Maxine and Barbara carry out projects related to the long narrative theater, often contaminated by historical memory and / or civil commitment. That kind of theater, whose most well known, for instance, and Marco Paolini. "Gigi" is a very impressive show, which I hope will be taken soon.
Speaking of theater in general? There is much talk of crisis, closed circuits of the shows on tour and then we are faced with small gems like this piece. From your point of view where the final game, the penalty that may trigger a new dawn for the fate of theater?
Doing theater and bring people to the theater are two things a bit 'different. Bring people to the theater is an art in itself, often unfortunately, ignores the quality of the show. Yet, ultimately, only the theaters (or posts alternative used in the theater) full can reverse the trend. Until they see the small beads and four cats will remain small enough. It is a bit 'anger to make the "sold out" are nonsense.
And you? Think of a never Ivo De Palma version of a stage actor?
already given.
episodes, it happened. The last
thing in 2004, just with Massimiliano Giacometti as a director, in a monologue taken from various authors.
I was on stage nine days and the weekly public information about shows, Torino Sette, in two editions out in those nine days, has not deigned to appoint me, even in passing. As it turned ...
Before each replica of the show, Maxine and Barbara had decided to project a video that gave some details of how emotional he would be told on stage. Filming the small Fabio, with the intent to impersonate him Gigi child, edited the film and brought it to me. I worked out the image to give it a slightly 'retro and engraved in my studio la voce di Massimiliano, che cominciava la narrazione sul filmato per poi proseguirla dal vivo in scena.
La cosa finì lì.
Qualche giorno fa mi ritrovai per le mani questo materiale, facendo un po' l'inventario di quanto giaceva sul computer, e mi parve l'ideale per una nuova scorribanda, che oltretutto poteva in qualche modo rianimare l'interesse per il progetto di Massimiliano e Barbara. Quindi presi il filmato e lo arricchii con immagini d'archivio del vero Gigi Meroni, reincidendo il testo con la mia voce per vedere che cosa ne veniva fuori...
Gigi, la farfalla granata, il calciatore beat, un po’ calciatore un po’ artista simbolo degli anni Sessanta tutti italiani. « Era un simbolo di estri bizzarri e libertà sociali in un paese di quasi tutti conformisti sornioni », così lo definiva Gianni Brera, e tu, per quanto onirico possa essere il tuo ricordo diretto di quell’emblema o anche nella coscienza consapevole di oggi, come lo definiresti?
L'effetto che il suo mito arriva a scatenare è straordinario. Lui, che per l'epoca era decisamente controcorrente e all'avanguardia (era tra l'altro anche ottimo pittore), è in grado, al giorno d'oggi, di farci vagheggiare nostalgicamente il tempo in cui il calcio era un'altra cosa. E' una sorta di ideale anello di congiunzione con quel mondo, una figura che consente anche a quelli della my generation to preserve some memory of that period. Know how to tell a story like that, it is important, because most young people have no way of knowing what has changed since then, except through testimony of this kind.
setting of your acting this time if the whole play in a flowering on tiptoe, we also naive due to the small frame with Fabio only a football field. One could say that Nouvelle Vague ... See, but when it comes into contact with the soul of a text as the basis for mentally display video from concept to achieve and how it happened in this case?
In this case the video already existed. What I was looking for, being a video that in this case was self-sufficient and not to introduce a spectacular success, was the real Meroni, evoked by archival images processed in the same way a little 'retro, so as to give the impression that that child was just Meroni. The acting was trying to be more gentle and spontaneous than usual, though not without sharply when time and rhythm of the words become tighter, as if to simulate a real-time commentary. In this, moreover, as I was driving under the heading of the same Maximilian, who had read the first edition of the song in the video.
And Gigi returns to speak of pure drama, theater. We begin, in short, with your technical opinion on the work of Max and Barbara ...
Maxine and Barbara carry out projects related to the long narrative theater, often contaminated by historical memory and / or civil commitment. That kind of theater, whose most well known, for instance, and Marco Paolini. "Gigi" is a very impressive show, which I hope will be taken soon.
Speaking of theater in general? There is much talk of crisis, closed circuits of the shows on tour and then we are faced with small gems like this piece. From your point of view where the final game, the penalty that may trigger a new dawn for the fate of theater?
Doing theater and bring people to the theater are two things a bit 'different. Bring people to the theater is an art in itself, often unfortunately, ignores the quality of the show. Yet, ultimately, only the theaters (or posts alternative used in the theater) full can reverse the trend. Until they see the small beads and four cats will remain small enough. It is a bit 'anger to make the "sold out" are nonsense.
And you? Think of a never Ivo De Palma version of a stage actor?
already given.
episodes, it happened. The last
thing in 2004, just with Massimiliano Giacometti as a director, in a monologue taken from various authors.
I was on stage nine days and the weekly public information about shows, Torino Sette, in two editions out in those nine days, has not deigned to appoint me, even in passing. As it turned ...
The show closes with this little thought: In 1977 in thirty-three years
Gigi Meroni would leave football. After becoming a farmer,
a restaurant, a famous painter, one designer said, would have fled with his
Kristiane .... If he would leave. Maybe today would be living among the Eskimos in an igloo or
Las Vegas among the colored lights.
was going to live on an island. Maybe the South Seas or Tahiti or the Marquesas Islands and
as Gauguin would spend his days in front of the sea to paint and
live ... live ... the thing he loved most to do ....
MASSIMILIANO GIACOMETTI, the curriculum:
Massimiliano Giacometti was born in Turin in 1957. He lives and resides in Settimo Torinese, where as a boy had a passion for the theater.
It 'a founding member of Studio Theatre, a group formed by students and workers along with various practitioners and teachers of the theater world, it also marked the seventies and eighties, an important moment in the cultural fabric of Turin. All events involving the leadership of director Flavio Ambrosini are
-1979/80 "The Threepenny Opera" by B. Brecht.
First edition. 1982, second ed. 1989,
"Marat-Sade " by P. Weiss.
-1984 "Le Nozze di Figaro" by Beaumarchais.
-1986 "The Key to Stella" by P. Levi.
By Flavio Ambrosini, he learns the importance of the work on the text and on chorus.
In the same year he joined the School of Dramatic Arts of the Teatro Nuovo in Turin, directed by actor and film director Franco Passatore and work with other artists, such as: Mantes Gianni, Alessandro Roberti, Iginio Bonazzi, Alberto Jona, Roberto Petrolini, Piero Ferrero and the Franco Passatore who will direct "La Calandria" of Bibbiena.
followed, always with the Studio Theatre, numerous training courses with the actor Eugenio Allegri will learn various techniques from which theatrical clouwnerie from improvisation to the theater of cruelty, to the comedy of Art.
In 1984, directed by Lucia Moisio, run "Screw Spericolate" scritto da Alessandro Baricco, vincendo il primo premio al Festival Cinema Giovani di Torino per il settore cortometraggi. Nel 1985 sempre con Lucia Moisio e Alessandro Baricco, gira "Non mettere le dita nel mio budino" cortometraggio commissionato dal Comune di Torino e Informa Giovani per divulgare le attività di quest'ultimo.
Nel 1987 partecipa al film per Rai 3 "La Medicina Conquistata" per la regia di Alberto Chiantaretto.
Nel 1990 con il Teatro Studio partecipa allo spettacolo "La Cimice" di Maijackowshi con la regia di Andrea Dosio, e nel 1991 agli "Ultimi Giorni Dell'Umanità” con la regia di Luca Ronconi.
Nel 1988-1990 Vi è un incontro artistico importantissimo con il maestro Yoshi Oida, e parteciperà a due laboratori sotto la guida del maestro. Questo incontro ne segnerà in modo particolare il cammino artistico.
Dal 1989 al 1992 si dedica completamente alla ricerca teatrale, approfondendo varie tecniche e mettendo in scena come attore alcuni studio di composizione.
Nel 1992 prende parte allo spettacolo "La Conquista di Abya Yala", regia di Eugenio Allegri, spettacolo che ha partecipato alla rassegna "Asti Teatro" e che vanta numerosissime repliche in Italia.
Nel 1992 Collabora con il Circolo Bloom e prende parte allo spettacolo per bambini “Nessuna Witch. " In the same year the club participates in the theatrical exhibition Bloom, "Yellow Night" directed by Eugenio Allegri.
in 1993 by the direction of readings on contemporary authors who will be represented in libraries, cultural centers and theaters. Has implemented a project on identity and difference edited by the writer Antonia Spaliviero in collaboration with director Gabriele Vacis, staged two shows: 1994/95 "I always wanted to be the commander," that has touched many Italian cities, and 1996 "What sort of people we are."
In 1994, there is the encounter with the theater group Stranomiscuglio Vercelli where he leads workshops and some royal signature.
-1994 "The Streets of Dust" novel by Rosetta Loy -1995 "... home for the chimney by books of Primo Levi -1997 " Sunrise to Sunset "of Barbara Costamagna -1998 "Reading image" , Lalla Romano composition and project Massimiliano Giacometti -1999 "Diaries" Costamagna with actress Barbara Enza Fantini -2000 hooligans Joseph Manfridi
From 1996 to 2002 and 'was the Artistic Director Theatre Nicolo 'Barbieri of Vercelli -inventing "The Theatre of the Heart" season's theatrical groups and professional actors.
In 2002, the town of Trino Vercellese entrusted to the Artistic Director of the Civic Theatre - designing the season "small theater" season's theatrical groups and professional actors.
In 2002-3 the town of Settimo Torinese Youth Information and entrusts the conduct of theater workshops for training, aimed at young people in 2006, studies show / workshop.
-2003 Wars "
-2004 "The key to a star ..."
-2005 "feud"
in 2003 and 'project author of "The Cities' invisible' the town of Settimo Torinese in collaboration with City Info ', the actress and director Fabbris Mariella Aldo Pasquero.
In 2003-04 worked with EIKONTEATRO and signature of the director "Full Wave" of dramatic composition Monica Bonetto and Massimiliano Giacometti with actor Ivo De Palma.
in 2004 with actress Mariella Fabbris leads the laboratory "A point in the move" aimed at young 2006.
I believe in a theater that upsets, which calls everything into question ... I believe in a theater of emotion, enchantment, wonder, provocation ... a theater of the body, gesture, where everything is moves with great pace in a big storm.
In 2005, the laboratory conducts "A point in motion between singing, storytelling and images" with specific study on "Romeo and Juliet" that gives life to the show / workshop “Faida” , scritto da Giuseppina Lupis con il coordinamento scenico di Massimiliano Giacometti
Nel 2005 nasce lo spettacolo lettura “Gigi” ispirato alla vita di Gigi Meroni, calciatore negli anni 60. Composizione drammaturgica di Barbara Costamagna interpretato da Massimiliano Giacometti.
Nel 2006/07 con l’attrice Elena Ruzza conduce il laboratorio “Storie & Memorie” (Storie e memorie di vita quotidiana del XX secolo raccontate dai settimesi) che nel giugno 2007 ha dato vita allo spettacolo dal titolo: “Barattoli di Memoria” scritto da Monica Bonetto con la regia di Massimiliano Giacometti Foundation for Cultural Experiences Metro Settimo Torinese.
It is still engaged in training workshops for young people and to play a new show that will be staged soon.
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