The betrothed Alessandro Manzoni
In this stage adaptation of the novel by Manzoni, the spaces of representation are reduced to three places: the city, the interior of the Church and the interior of a house. With the exception of the church -which was unique-, the other places had the opportunity to represent various towns or houses.
We used two folding screens of three sections each. The two screens together represented the main city, allowing access to the actors through two arches located on the last section of each screen (the external ones).
By turning one screen we were transported in a house and by turning the other we were transported in the church.
The screens were very light, made of wooden frames covered with fabric and painted on the frame. They were fitted with wheels, which enabled their relocation on stage to create different environments.
The actors moved them quickly and quietly based on rehearsed moves under acting directions. To differentiate the interiors of the houses it was enough to change the opening angle of the screens and /or move them on stage. The same method was used to define the different cities.
The screens were painted in sepia tones, as in an old movie.