The theatrical works

 

"For Orazio, I made a considerable number of works, scenes, and costumes. We inaugurated the Overseas Theater in Naples, worked in Venice, at the Piccolo in Milan, in Caserta, in Belgium and, of course, in Rome ..."

 

Valeria Costa 

Valeria Costa started working alongside her brother Orazio in 1937 to finish in 1963, after having contributed to the creation of the scenes and costumes of about forty shows for prestigious locations in Italy and worldwide. The partnership between the two brothers is amply documented by letters and documents showing how close and intense their collaborative relationship was.

  

"With Orazio, since we were children, we had played many times to imagine theatrical scenes for works interpreted or invented by us. Moving from game to reality after studying two years of architecture was a very simple thing."

Valeria Costa

"Since you left the theater to follow your imagination without illusions, but serene, without wanting to adapt your creativity to the whimsical flair of a beloved theater actor and the capricious whims of always reductive contingencies, I have remained almost halved " wrote Orazio Costa in a text published in the book Valeria Costa - Woman, painter (Roma, 1989)   

   

the Fable of the Changed Son

by Pirandello

directed by Orazio Costa

costumes, scenography, masks, puppets and puppets by Valeria Costa

Puppet made on a design by Valeria Costa for the show The Fable of the Son Changed with the Direction of Orazio Costa, Teatro Piccolo in Milan 1956-57. The puppets are kept in the archive of the Colla theater. The archive is inventoried and kept at the APICE Center, Archives of the Word, Image and Editorial Communication.

The encounter  of  Picasso and Pirandello

"In 1957, we reached the peak perhaps of our collaboration for the originality of creation. The idea of ​​seeing Pirandello's novel, the Fable of the Changed Son, in a romantic Mediterranean style recalling Picasso's aesthetics was achieved thanks to your incredible attitude to relate with the Spanish artist. At that time, it seemed silly to associate Pirandello and Picasso, although today everyone finds it logical and almost obvious.  The invention of the costumes, masks, and puppets was the result of a fruitful hybridization and originality never founded again. There was a starting point: abstraction in times of assiduous naturalism, in a period of many good examples of research between others less attractive in the experimental and avant-garde theater.

Orazio Costa in a letter to Valeria

Puppet made on a design by Valeria Costa for the show The Fable of the Son Changed with the Direction of Orazio Costa, Teatro Piccolo in Milan 1956-57. The puppets are kept in the archive of the Colla theater. The archive is inventoried and kept at the APICE Center, Archives of the Word, Image and Editorial Communication.

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