Luca Ronconi’s pedagogical approach at the Centro Teatrale Santacristina reveals a unique methodology where artistic formation and theatrical creation intertwine. Established in the early 2000s by Ronconi and Roberta Carlotto, the school was conceived as a space for young actors to continue their training beyond traditional academies. Ronconi’s idea of learning through action positioned Santacristina as a dynamic environment for theatrical experimentation, fostering a dialogue between experienced professionals and emerging talents. One of the most distinctive aspects of Ronconi’s teaching was his tendency to return to previously staged works. Unlike his general aversion to revisiting past productions, he made exceptions within the educational sphere, using these works as a means to refine and transmit knowledge. The revival of plays such as Il Candelaio, Amor nello specchio, and Sei personaggi in cerca d’autore served as opportunities to explore textual interpretation, spatial awareness, and the physicality of the actor. Through an in-depth analysis of these productions, the article examines Ronconi’s approach as both an educator and director. His process of revisiting works is not a mere repetition but a form of creative advancement, enabling young actors to develop their craft in a protected yet demanding environment. Santacristina thus emerges as a liminal space where pedagogy and performance merge, offering a unique model for theatrical training that continues to influence contemporary practice.
La lezione di Ronconi a Santacristina. Andare avanti tornando sui propri passi
Davide Siepe
2025
Abstract
Luca Ronconi’s pedagogical approach at the Centro Teatrale Santacristina reveals a unique methodology where artistic formation and theatrical creation intertwine. Established in the early 2000s by Ronconi and Roberta Carlotto, the school was conceived as a space for young actors to continue their training beyond traditional academies. Ronconi’s idea of learning through action positioned Santacristina as a dynamic environment for theatrical experimentation, fostering a dialogue between experienced professionals and emerging talents. One of the most distinctive aspects of Ronconi’s teaching was his tendency to return to previously staged works. Unlike his general aversion to revisiting past productions, he made exceptions within the educational sphere, using these works as a means to refine and transmit knowledge. The revival of plays such as Il Candelaio, Amor nello specchio, and Sei personaggi in cerca d’autore served as opportunities to explore textual interpretation, spatial awareness, and the physicality of the actor. Through an in-depth analysis of these productions, the article examines Ronconi’s approach as both an educator and director. His process of revisiting works is not a mere repetition but a form of creative advancement, enabling young actors to develop their craft in a protected yet demanding environment. Santacristina thus emerges as a liminal space where pedagogy and performance merge, offering a unique model for theatrical training that continues to influence contemporary practice.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.