“Greek theater in Syracuse is in danger of demise, and Elisa, Claudio Baglioni and Gianna Nannini can help destroy it: in the coming months, their audience, accustomed to stadiums and arenas, will move to a very weak 2,300-year-old building, with an effect whose consequences no one knows in On the one hand, if the chief of the region, Nilo Musumesi, finds an installation of contemporary art in front of the Segesta temple inappropriate, how can he find it normal that a rock concert is taking place in a cave from the third century BC?”He asks and asks with Agi Fabio Caruso, an archaeologist at CNR, in explaining the anguish of many of his colleagues in the face of announcing a series of pop and rock performances for the first time in full theater presence.
“In addition to – adds Caruso – I would like to know if the Syracuse Charter, the document that indicates the guidelines for the use of old buildings, is respected. It was defined, ironically or ironically, specifically in Syracuse in 2005 on the initiative of the Regional Advisor for Cultural Heritage. Is it still valid or has it become waste paper? “. The Syracuse Charter for the Conservation, Use, and Management of Ancient Theatrical Architecture sets out the principles and rules in the awareness that “Improper use gradually worsened the attacks“To the “Invaluable cultural heritage“.
“Every ancient place of recreation is a case in itself of the history in which it lived, during its existence or from the moment when the light was revealed until now, and of the physical, social, economic and cultural environment surrounding it,” It reads the charter, which allows the use of old theaters only if they are respected “accurate standardsStarting with prior knowledge of the state of health of each part of the cultural property: grotto, orchestra, theater building, acoustics. “Since the ancient memorial use – stipulates charter – Wear it inevitably and it can erase useful data for its correct historical and archaeological knowledge, and antiquities that have not been adequately studied and documented cannot be allowed to be used. Such use cannot be allowed for effects that have been shown to be impaired. In the remaining cases, the sustainability of the use of the monument should be studied preliminarily by a multidisciplinary working group, particularly with regard to the load in terms of the number of spectators allowed without endangering and damaging the old buildings.”
“There is a very long sermon sermon – explains Caruso – On the use of old theatrical buildings. I am frustrated, like many colleagues, when someone responds to our bewilderment that such parties are also held in the Verona Arena and in the old theater of Taormina. There are two types of buildings: those at the top and those carved into the rock. Piazza Verona, among the first, saw the first restorations even in the Renaissance; The Taormina Theater itself, before the restoration of the steps in 1959, was a “rise” in the grounds: restoration, after use and abuse, had resumed a few years earlier, and the steps are modern. On the other hand, the Greek theater in Syracuse was built “passively”: completely hewn in the rock, in soft white limestone, and has very important reliefs. Therefore, not all ancient theaters are the same“.
The Greek Theater in Syracuse – Caruso continues – Today it is used mainly for classic representations of Inda, which have experienced workers and know what they are dealing with. Moreover, the classical performance is part of the theater’s identity. And it has a certain audience. In the case of a rock concert, such as Gianna Nannini’s, her audience should expect to jump and dance down the stairs while she sings “This love is the gas chamber.” It’s something that makes you upset: I can’t understand what goes on in the minds of those who have allowed this kind of concert. The Greek theater in Syracuse is fragile and unrestored. Any corrosion damage in that theater could no longer be repaired. In Taormina we sit on a stone 1960; In Syracuse, the stones date back 2,300 years.”
Years ago, a committee of Syracusean citizens, led by archaeologist Flavia Zisa, asked the Aristocene for data on the health of the Greek theater. They never came. This is not the first time that there has been talk of openness to these offers – told Aji Zisa, who in 2010 collected more than 500 signatures in a “historic” uprising against the invasion of Ferrari cars in the theater – I am not against it in principle. The rocks may not be more invasive than the melodies, but it is important to provide data on the state of preservation of the monument, which we cannot risk losing even in the case of a flap of butterfly wings. Supervisor must see if decibel and impedance tests have been performed; Determine the parameters by which the monument can withstand the effect of a particular scene. And this is true of Greek theater and Ortigia.”
Once an old building is infected, the “doctors and nurses” arrive to treat it, but it is often too late to intervene. “I am aware of the suggestion associated with the selection –explains to Agi Belinda Giambra, a Sicilian restorer involved in returning to the island’s important archaeological community– But the theater is not the right place for such initiatives either in terms of property preservation or in terms of its identity. I worked in some Paestum temples: the stone of those buildings, Vitruvius wrote, was ‘seasoned’, with a procedure similar to that of wood: roughly hewn, exposed to the elements, so preserved that it developed its own porosity and then set in place. It’s gone. Block, with care and attention So that not even a postcard could pass between the stone elements. The temples of the fifth century BC are like this: this is their sanctity. “