Work Methodology



TTB Teatro tascabile di Bergamo - Accademia delle Forme Sceniche organizes in its base a three-month theatre school dedicated to...


  • young people (regardless their experience in the field).The school is based on the techniques and methods on the acting art created by TTB during its artistic career. The course is inspired by Vico for his way of understanding the psychophysical world of theatre in its different aspects through direct practice. We alternate and compose experiences of participation, analysis, demonstration and documentation in order to create a form, more or less wide or deep, of “collective mind” to define sense and perspective of the work while it’s being created. Participants are taken to the direct experience of the actor’s work through a series of exercises and experiences: - General body technique (training) - Elementary acrobatics - Improvisation - Eastern dance-theatre technique elements - Outdoor theatre technique (the space, the actor-musician, outdoor theatre dramaturgy and other specifications: form stilts to fire eating, use of the accessories) - Vocal techniques (singing and the use of the voice). The school can be completed by meetings with guests, accounts (video or live), performances or lectures cum demonstration, and it’s for anyone who’s interested in the art of acting. No specific qualification needed.
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    Argomenti correlati: Work Methodology


Contemporary theatre is not (anymore) just a performance. In this section you’ll find, from a trans-cultural point of view,...


  • lectures cum demonstration on eastern dance-theatre and on working techniques developed by TTB:FIREWORKS: a performance-demonstration with a reflection on the art of acting: art and techniques in contemporary theatre.UNA ROSA BIANCA. I COLORI DELLA VOCE: a lecture com demonstration on TTB’s vocal techniques.IL LAVORO DELL’ATTORE TRA ORIENTE ED OCCIDENTE: ways and intersections: from the jester to the lyrical actor through the experience of outdoor theatre and Indian dance.KONARAK. LA PAGODA NERA: Orissi style classical indian dance-theatre.IL RAJA DI KOTTARAKKARA: Kathakali style classical indian dance-theatre.CANTI D`AMORE: Bharata Natyam style classical indian dance-theatre.
    Argomenti correlati: Work Methodology / East-West / Open Spaces


TTB plans its actor to plan its theatre and elaborates tools and guidelines of the project in the making: it’s pure ...


  • research, at the crossroads of, enterprise, initiation process, knowledge itinerary. The actor’s pedagogy is its tool and at the same time its purpose. Education is one with the production. The process circularity of the Group’s activity allows learning to be conceived as in the old times art workshops, something that involves, at different levels but with the same passion, teachers and students. The so called studentship thus becomes a process of reciprocal knowledge,integration and adaptation, more than simply sharing knowledge, with a huge (emotional, human, professional)  investment towards the new students. An experience that challenges the Group and its members every time. And  every other time it redefines their identity.
    Argomenti correlati: Group / Work Methodology


Through the years different techniques and masters joined: after Eugenio Barba and Jerzy Grotowsky we started  working with...


  • the Colombaioni brothers on clowerie and acrobatics, singing with Giovanna Marini, voice with Gabriella Bartolomei, Indian dance with Kalamandalam John, Usha Raghavan, Aloka Panikar, Pei Yan Ling for the Beijing Opera, Made Djimat for Balinese dance and many more. Then we developed self-learning techniques for  improvisation methods based on “pure dance” or on “tasks” for musical instruments and voice and for the use of stilts in street theatre, through which TTB bent the open space to a dramaturgic function: another mix of cultured and popular, high and low, and play “for everyone”.
    Argomenti correlati: Masters / Work Methodology / East-West / Open Spaces


The outdoor performances and Festivals produced and organized by TTB sum up the interdisciplinarity that  characterizes the...


  • group’s work; the deriving stream of artistic density allowed it to present plays with different  dramaturgies and the dislocation of the scene/audience/actors relationship. For TTB a simple need underlies the  research for an outdoor performance: surprise. The first aim of a outdoor performance is to transform an ordinary  reality into a different world for the audience, with impossible figures (for example walking on stilts). A space can be transformed by ornaments that twist its sense, or (even more effectively) through the actors’ “ambushes”, who appear and disappear from street corners, rooftops, from the end of a road, guiding and confusing the audience.Through the years TTB organized parades (Grande parata d`apertura, 1985), “a stazioni” moving performance (Albatri 1977, Alla luna 1981, Storie del giardino dei peri 1995, Corteo Manzoniano 2004-2005) "a pianta fissa e centrale" (Valse 1994, Amor mai non s’addorme-Storie di Montecchi e Capuleti 2009), outdoor programs (Arlecchino d’Oriente 2006, L’Aria infinita 1986).There are productions only or mainly characterized by “cordial parties” explicitly inspired by the spectacular model of the reception (Sogni vagabondi 1987, Con suoni e con canti 2005) and, on the other side, more dramatic plays  (Sonja 1979, Alla luna 1984). The last production of the group, Amor mai non s’addorme. Storie di Montecchi e  Capuleti, joins all those productions with a complex system of loans and “translations”. It’s a new reading of the  popular Shakespearean myth of Romeo and Juliet, an epitomy of all the elements forming TTB’s poetics.
    At the moment (fall of 2012) TTB is working on the production of a new outdoor performance.
    Argomenti correlati: Work Methodology / Open Spaces


Since 2011 TTB is a ONLUS social cooperative whose aim is to pursue the community’s interest for human promotion and for...


  • the citizens’ social integration. Theatrical craftsmanship, and the necessary training for it, is based on a role distinction type of collaboration (different duties and specializations) and not on the sectorialization of the jobs,  implying values and rules that aim to the creation of a “collective mind”.Live performances, especially outdoor, have been experimented for a long time not only as an artistic product, but  also as a way to revitalize the relationship between groups and individuals, in situations of difficult social interaction, outcasting, handicap, linguistic, ethnic or religious differences, etc.


TTB has its roots in Bergamo. During 40 years we realized or produced 111 performances in Italy and 36 in foreign countries and...


  • held conferences, laboratories and lectures cum demonstration on the techniques we practice. We also organized more than 70 events in Italy and abroad (Festivals, Shows, Special Events, pedagogical Activities).
    Argomenti correlati: Work Methodology


TTB’s work has a very precise cultural, political, ethical connotation. It is also the story of a technical research in...


  • which specific instances combine: the will of precision and strictness in the studies carried out by International School of Theatre Anthropology, founded by Eugenio Barba, and secular rules, like the Master’s tradition, for a long time ignored by western theatre. These are some of the elements that concur to one’s actor practice and extend up to the point of conceiving theatre, both indoors and outdoors, as “actor’s centrality”, whose work is the production’s rawmaterial. This theoretical-practical development got different results that traced differentiation and stratification lines in the production. The play is the product of the process style of the work more than the final act of a production cycle, modeled through the concept of training and improvising, in an endless continuum of practice and rehearsal.
    Argomenti correlati: Masters / Work Methodology / East-West


Soon the jester-actor proposed by Renzo Vescovi looks East and creates a possible theatricalism utopia. He looks at an ideal...


  • model of actor: the one who, through the complete mastery of his body and full expressive autonomy, evokes and produces poetry on stage. Orient will teach the actor discipline, body polyphony, control, production of sign unities in time unities, energy and material organization in an encoded language, poetic freedom in a formal cage. So the “lyrical actor” and “the nameless actor” add to the “jester-actor” as an aesthetical-technical ideal: the choral dimension and the loss of “role” and “character” add up to the relevance of the physical and instinctual part. Anyways this orchestration of the single body is a figure of the ensemble body orchestration, that is of the idea of group as an orchestra and of the play as a polyphonic performance, where actors are dramaturgical function that keep on changing and interacting between them; these are all incompatible features to the strong verbal and intellectual individuality (and individualism) of the actor in conventional theatre. “To be, not to appear” as Renzo Vescovi wrote.
    Argomenti correlati: Work Methodology / East-West


After meeting the oriental masters invited by Eugenio Barba to the Atelier Internazionale del Teatro di Gruppo in Bergamo (1977),...


  • TTB starts its research on Indian and Balinese dance-theatre, and afterwards with the Beijing Opera. Since 1978, actors from the Tascabile theatre go regularly to the East to specialize in various Indian disciplines,  specifically Bharata Natyam, Orissi, Kathakali e Kuchipudi. Contextually, in the last 40 years TTB had a remarkable role in promoting classic Indian theatre, organizing and promoting tours in Europe for great masters and dancers through the foundation of IXO - Istituto di Cultura Scenica Orientale.For TTB the relationship with India is the logical development of its need for scientific knowledge, for technical-practical acquisition, for a logical solution to the problem of the theoretical and formal basis of its work. The eastern example was recommended since the beginning of the 20th century by the great theatre masters as a way of  complete renewal and as a new art. Through Indian dance TTB created what Renzo Vescovi called “the lyrical actor” and “the nameless actor”.
    TTB meeting India was fundamental from the point of view of exploring a new branch of theatrical knowledge and also for creating a new mental horizon, made of shared memories, technical terms,  knowledge, affection, ideals and values, as it’s documented on the working diaries of its director Renzo Vescovi and its actors.
    Argomenti correlati: Group / Masters / Work Methodology / East-West


Teatro Tascabile di Bergamo’s peculiarity is to be a “group theatre”. Our work is based on the interaction of...


  • each member, as in renaissance art workshops: not a “company”, but a group of people cooperating in a continuative daily effort to not just produce a play, but also to work on what’s behind the play, realizing specific and autonomous creative processes not to obtain an immediate result, but to give a parallel and continuous cultural elaboration.After founder and director Renzo Vescovi’s passing in 2005, TTB moved towards collective directing, continuing the production of indoor and outdoor performances and organizing cultural initiatives in cooperation with local  organizations, both national and international.
    Argomenti correlati: Group / Collective Mind / Work Methodology
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