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TTB per Il Mantello di Arlecchino
Published on 23/10/2021


Published on 14/09/2021


Published on 07/09/2021


ARCATE D`ARTE - Il chiostro in scena. Da Maggio a Ottobre 2021
Published on 07/05/2021


TTB per #tuoCarmine / Sostenere il teatro รจ semplice e non costa nulla
Published on 03/05/2021


Published on 10/11/2020


Published on 07/04/2017


TTB per BERGAMO / #5 a great adventure togheter
Published on 16/06/2020

Sharing the last story about TTB, its history and relationship with the city of...


  • Bergamo.

    RAIMONDO LATINI: A theatre can give a lot to a city. But it is also true that a theatre can only live if it is loved and helped by the city. A theater is a living dialogue, between those who do it and those who benefit from it. We carried out the first intervention to support Teatro Tascabile a few years ago. We were six or seven friends of TTB, private friends, the Partnership project did not exist yet. We simply wanted to help a group that we esteemed and that we had been following for many years as, in our opinion, it did a lot for Bergamo. Then came the Monastery restoration project. At first, I was perplexed. I was convinced when I heard that there was a twenty-year commitment between TTB and the Municipality: those who make a financial contribution do it with the guarantee that the theatre they intend to support will be able to work in those spaces for many years. Today I have both the great satisfaction to see that the work of refurbishing has started and the hope that others might proceed in a similar way. This is my wish and I look forward to seeing the first performances next year in this renovated theatre.
    (Raimondo Latini died from Coronavirus on April 6, 2020. TTB remembers him with love, longing and gratitude)

    ERMINIA CARBONE: As head of the heritage department, I would like to point out, that we and TTB are "natural partners": there has always been a remarkable level of communication between us and I am glad I was in the right place at the right time. The tool that allowed us to really work in partnership was the establishment of the Technical Advisory Panel: we were able to sit at the same table - we as the administrative office, the Superintendence, TTB, and the design engineer Matteo Ranghetti - to go over the contracts with the companies that took on the job and review the projects with the Municipality`s own technical officers. Furthermore, we demonstrated mutual commitment...I can`t tell you how many times the draft of the protocol went back and forth between us and TTB, until we had really shared it in all its details. I can say without exaggeration, I am proud to have worked on this project.

    SIMONA BONOMELLI: Those who know me well know that one of my strong convictions is that in order "to live your heart needs to beat" ... when you enter TTB, your heart inevitably beats stronger because it is an enchanted place, full of people who thrill you, who know how to show you that doing theater not only means giving performances and promoting culture, but also developing knowledge of your territory, through thoughtful care of a place and of the whole community that belongs to it.

    EZIO DELIGIOS: Cinema, theatre, all those beautiful places we took for granted until recently, today seem distant and unreachable. And they suffer. And they will need all our help when we wake up from this nightmare. I want to talk about a little jewel of Bergamo`s culture, the TTB. In the heart of Città Alta, walking through a splendid passageway, just recently reopened to the public, we reach a cloister where the magic of the theatre overwhelms us in a thousand different ways. But, from that hidden, precious place, TTB "spills out through the streets" and celebrates the important events of the city together with the citizens of Bergamo. We hope we’ll see Harlequin again soon as well as all the other TTB characters in their rooms at Monastero del Carmine or in the city squares.
    SILVIA BALDIS Now we are working in the sixteenth-century wing of the complex, in the rooms next to the beautiful refectory that contains the most important decorated cycle that has survived with representations of blessed and sainted Carmelites enclosed in painted oculi. The surface removal treatments that we are completing will bring to light the original plaster of the vaults and walls. Taking care of these spaces helps us feel that we are contributing in our own small way to keeping the Monastery a precious place.RAIMONDO LATINI, Engineer
    ERMINIA CARBONE, Heritage Manager of the Municipality of Bergamo
    SIMONA BONOMELLI, Chairman ODCEC Bergamo
    EZIO DELIGIOS, Accountant
    SILVIA BALDIS, Restorer
    Our starting point was that the Monastero del Carmine should not only be a container for events, but a space for relationships where people can relate as part of a community. This is how the re-qualification project was born and began to develop thanks to a special public-private partnership agreement, i.e. thanks to a planning and programmatic alliance between TTB and the Municipality. This is the first example of this type of agreement in Italy and maps out a new and important path: a private partner, committed to the recovery and cultural development of public property, using its own work and strengths and involving citizens, associations and companies. The aim, which has become common, is a matrix for culture and future life.


    Carmine, TTB performance, 2016, photo Gian Franco Rota

TTB per BERGAMO / #4 recent arrivals
Published on 26/05/2020

MARTA: I`ve been officially working with Teatro...


  • Tascabile since May of last year. I am Caterina [Scotti]`s daughter, who has been in TTB since 1982. When I was born, in 1999, my father [Francesco Suardi] was also a member of TTB. When I was 3 months old I took my first trip to Argentina, 9 months old to Brazil, then I went to Costa Rica, Mexico and many other places. As a teenager I perceived the theatre as something that was already there, besides me, was part of my parents` life. I didn`t want to choose it as a profession, it seemed to me that I had very little imagination.
    ALESSIA: I joined TTB in 2018. You learn the dynamics of a group by living as a group. Unfortunately, there is no manual that explains how to behave or what to do. I think there is a basic common purpose: to do theatre. But in addition to this common purpose there are issues that should not be underestimated: trying to preserve your own balance and, at the same time, sharing, listening to the needs of the group as well as those of individuals, learning to observe silently. And being a bit weird. Being weird helps. Maybe it`s even essential.
    At TTB the basis for the training of the actor lies in the passing on techniques from master to pupil. It`s a long, difficult process, you have to be patient. I, for example, am a mess at stilts. Stilts are terrible. One day you wear them and you can do all the basic exercises, maybe even fouettés. The next day you put the stilts back on, and it`s a disaster: you walk without being able to take your hand off the wall in terror. You have to be a bit stubborn and not get discouraged, but sometimes it`s difficult to keep control while your brain keeps whispering: "and what if you fall down, you break your leg and you can`t do Bharata Natyam anymore?". My brain only tells me terribly tragic things...
    MARTA: I have the feeling that I have always been aware that my "real" family was constantly intertwined with other lives, that there was a larger family called TTB. I always called everyone in the group an uncle or aunt. I liked that.
    I remember once, in Brazil, I was 6 years old. My mother had brought me a very pretty, white, sleeveless, sky-blue satin-edged dress. She told me I could wear it to accompany Uncle Beppe [Chierichetti] in Valse. Valse started with Uncle Beppe placing candles on the floor, forming a large perfect circle: the large ballroom. It was a lot of fun when they took measurements to draw the circle in the afternoon under the scorching sun. Uncle Beppe and aunt Cocò [Luigia Calcaterra] formed a sort of living compass: one stood in the middle, holding a string as long as the ray they wanted to trace, the other, holding the other end of the string, took long giraffe steps, always identical, and made a mark on the floor at the place to put the candles. I was happy to take part in the performance, I trusted Uncle Beppe blindly. After having carefully studied with him what I had to do, I prepared myself, and I was ready long before the others. But as I watched them get into their beautiful costumes, I began to feel more and more alone and abandoned. It was a disaster. Shortly before the performance started I burst into tears, panicked, refused to show up in public. Luckily with time I had many other opportunities to redeem myself by playing small parts in the performances. Then when the other members of the group had children, it became easier and even more fun.
    ALESSIA: TTB is not only a group of actors, there is also the back office, to which Elena [Donda] and Emanuela [Presciani] are completely dedicated, but for which we all have some tasks. The energies of a group do not only go to training and performances, but to everything related to TTB. In this period, especially to a super project, the restoration of the Monastero del Carmine and the creation of the Renzo Vescovi Theatre. I never met him but it seems like I knew him as well, since my colleagues talk about him all the time.
    Before the quarantine we spent crazy months, dismantling the dressing rooms, the foyer and the theatre in order to free up space so that we could start on the work of refurbishing. We looked for new wardrobes, arranged costumes and objects, removed the ceiling grid, boxed all the books, set up the new warehouse and now we are waiting. I can`t wait for the restoration to be finished. I can`t wait to perform again. We have so many plans. With this quarantine, the desire has grown even greater.
    RENZO VESCOVI: "Group" is a fundamental concept for us. It means that someone has had both the patience of a saint and a fool’s own luck to be able to live together for a long time without fighting, without leaving. Only in this way, by staying together for a long number of years, can we learn, grow, mature, and pass on our knowledge. Otherwise knowledge is not
    2006 Anno dell’Italia in Cina, “Valse”

TTB per BERGAMO/ #3 Then along came India
Published on 12/05/2020

Sharing the second story about TTB, its history and relationship with the city of...


  • Bergamo.

    WERE YOU THERE?  Visit our facebook page, tag yourself in the relative post and share your memory by the ashtag #TTBperBergamo, or send it to

    RENZO VESCOVI. Falling in love is a turbulent experience, and no one is surprised that its biological and vital force is poured into creation, even destructively, often overflowing the banks in which it had probably better be contained. The impulse towards India was rational, it was the need for technique, and at the same time it was as blind as romantic love. My intention was simple: to possess that beauty! Like a feuilleton: with an unavoidable exclamation mark. So, when my proposal of engaging with a long learning of alien artistic traditions sounded too weird to my colleagues, and it furthermore got entangled in the usual problems of money and organization, I slammed my hand on the table and dug in my heels.
    USHA RAGHAVAN. It was 1980. I was teaching Bharata Natyam in Centre Mandapa in Paris. As I was starting the session, Milena [Salvini], director of the Centre came to me and asked if I would permit a gentleman to watch my class. I was fine with that. In came an Italian guy [Beppe Chierichetti] who sat in a corner throughout the entire class, simply observing. At the end of that session he wanted to talk to me. He asked,’ Would you be interested in coming to Bergamo to teach Bharata Natyam?’ Spontaneously I said, ‘Yes, of course.’ Then I asked, ‘ Where is Bergamo?’ It was the beginning of a beautiful friendship. Thirtynine eventful years have passed by since then. I set foot into TTB with the simple idea of teaching what little I knew but never expected that I would gain, along the way, so much that our association would enrich my life forever. It was 18th of January 1981. I landed in Rome to take a connection to Milan. As I came out of the airport in Milan, Beppe was waiting for me. It was about three quarter of an hour drive to Bergamo. (My father had shown me on the map where Bergamo was!). As we were nearing Bergamo, Susanna [Vicenzetto] pointed out to me… ‘Look there. Do you see the hills? That is Citta Alta of Bergamo’. My first thought was, ‘ Wow, it looks like Tirupati!’. I visited TTB. In simple terms,‘a mini paradise’.
    K.M. JOHN KALAMANDALAM. My encounter with Teatro Tascabile was a great moment to become a Kathakali actor and teacher, because when I started to teach I felt that I hadn’t studied everything yet. Beppe used to ask me many things but I often wasn’t able to reply, and the same was with Renzo. So, I had to go to my teacher and ask again and again to learn more. Actually, when I was teaching I was studying as well.
    ALOKA PANIKAR. I met Renzo Vescovi  in the late 1970’s  on my first trip to Italy. I had been invited by Professor Ferruccio Marotti, along with Professor Mohan Khokar, noted scholar and dance historian, to conduct Orissi workshops and present dance performances in various theatre groups in Italy. TTB happened to be one of those theatre groups. But with TTB it was different. That was the beginning of a life-long relationship. TTB is a group of artists with a deep understanding and respect for the Indian performing arts. Renzo made me strive to give the best within me to my dance. Thank you always Dear Renzo…
    AMBIKA PANIKER. Luigia [Calcaterra] and Tiziana [Barbiero] took to learning Orissi from my mother. Luigia, the more mature “sensible” one with wise eyes, Tiziana, just two years my senior with her corkscrew blonde curls that were forever falling into her eyes!  I often wondered why she did not comb it or tie it up like we did. How India fascinated them and how they fascinated me! I still remember Tiziana, wearing a sari, running to give me a last hug on their last day in Delhi. Of course she could not run so she lifted the sari till her knees. Imagine an Italian girl running towards you, sari hitched up till the knees, legs on show and her crazy hair flapping in the wind! ! And meanwhile Luigia, a few hours before leaving, was still there asking me to record the lyrics to learn them better. There are so many memories, so many instances of laughter and warmth one could write a novella on them. They still bring a smile to my lips. And the one thing that connected us is Orissi and our teacher, my mother... I have seen how hard Luigia and Tiziana worked to achieve perfection of technique. There have never been any short cuts, only complete dedication and I think that is how they or all TTB actors work- honestly and sincerely. One can see those qualities emerging among the younger actors. It is a very important process of developing as an artiste as not only the body but the mind opens and grows too. 
    RENZO VESCOVI. Everyone tried to persuade me that India, the practice of Indian dances, was a really too stupid a path. An impassable and impossible road. Many years later, Grotowski wanted us to go and show him our dances. After watching them, he smiled and said to me: "All right, now you`ve convinced us all that yours was the right decision, but you must admit that when you started out, we were right.”
    Bangalore - febbraio 2020: Tiziana Barbiero, Alessia Baldassari, Elisabeth Khokar, Ashish Khokar, Caterina Scotti, Praveen Kumar, Anupama Hoskere, Divya Hoskere e il gruppo della “Chithkala School of Dance” di Bangalore. Photo: Jayasimha Reddy

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