CIAK SI GIRA!

VARIETY

ARTURO BRACHETTI
GERARDO BALESTRIERI E LES TRAVAILLEURS DE LA NUIT
SERGE DEMONCOURT

After several years of absence as solo-artist of his show, Brachetti returns as protagonist in a one-man show that encloses, as in “Man of a 1000 faces” the best of his repertoire.

“Ciak si gira!” (action!) is the magic phrase that evokes the moment when the craftsman of the film creates the dream and is the title by which Brachetti takes us on an amazing journey into the cinema.

In a series of numbers, theatrical and evocative moments, in a new scenic setting, Arturo relives his love for the seventh art. The show begins with a huge TV where Arturo turns in the characters that populated the afternoon movies, the ones that we all have seen and loved since childhood: Zorro, Mary Poppins, Maciste, Cruella De Vil, cowboys, pirates and adventurers. Arturo then recalls being, still a teenager, the Museum of Cinema in Turin, his city and to have particularly remembered the Horror section. He creates then a fun frenzy of meetings, where the priest of “The exorcist” comes face to face with Nosferatu, served by undertaker on duty. The monster of Halloween, after having chopped the possessed girl, loses his head and literally finds it between his own knees. As in any self-respecting horror, the paintings speak, ghosts disappear and tables fly.

Arturo tells the story of the characters that influenced him a lot in his very first cinema experiences, from Baby Jane to musicals … then there is the story of Lon Chaney, also called “the man of a 1000 faces”, which was the pioneer of facial make-up for create characters now become icons of cinema. Arturo revives through quick costume changes and make-up all the characters made famous by the actor such as the Phantom of the Opera, Quasimodo, Fu-Manchu, scary clowns and melancholic Pierrots.

In another more intimate moment Arturo revives the oldest cartoons in the world as Chinese shadows, or the grandfather’s hat with which he transformed from a small, in dozens of characters, or even the number of fantasy: “everything out of nothing“.

The evocation of the world of Fellini closes the first part of the show, as a maximum combination of scenic invention and dreamlike evocation. The play had already one of the most touching moments and visually inventive of the previous show Brachetti.

The second part of the show is almost entirely dedicated to the great Hollywood films with a parade of characters that rivals a film library: Charlie Chaplin, Gene Kelly, King Kong, Shreck, Liza Minneli, Gollum, Harry Potter, Carmen Miranda, E. T. Judy Garland, Jack Sparrow, Snow White, Darth Vader, and many, many more, creating a hilarious and surprising film zapping. Arturo does magic, disappears, flies…

After more than sixty transformations and magical surprises, the show ends with a poetic and spectacular evocation, a thank you to all the objects and more mundane actions that have become memorable thanks to their use in film … from Méliès’ moon, Tarzan’s howl and ET’s bike.

ARTURO QUICK-CHANGES, DOES MAGIC, DISAPPEAR, FLIES…

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