via santo stefano, 94
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teatro olimpico, vicenza
for more than twenty years, mario nanni's knowledge and experience have followed a constant trend, like an interminable gallery of works, open and closed windows, aimed at thinking and at making crafts. the light filtered through the windows of the loggia above, beyond the bleachers. the white marble of the friezes and statues follows the rhythm of the rosy and blue light of dawn. the lesson begins in the morning, when the natural light arrives from the east and the transparent clouds painted on the ceiling softly spread over the theater audience, balancing the dark, menacing twilight colors of the perspective wings behind the scene, facing west. the skilful use of color, movement, intensity and duration of the light of dawn, which palladio infuses in his works, returns to the 'study of natural light. parte prima', started by mario nanni many years ago. while the shadows linger between one column and another, the master of light hands down his art in the chiaroscuro of the seven streets of Thebes, on the proscenium of the theater, revealing light as the breath of every place, as a linguistic sign, as a synthesis of the vision that every designer has of spaces and bodies. the narration and the master's steps accompany the beauty. calm and flowing, his voice and the light of the hybrid propulsion devices illuminate the perspective wings and the statues wrapped in light veils. the bell towers of light, resting on the stage polished by history, illuminate the ancient wood and it is as if they were reflected on the embankments of venice. a handful of fireflies whisper gestures and looks of Arcadian characters. colored paper flowers vibrate blue and red under the light of micromen and thirty-eight spotlights, coloring the sober colors of the marbles. the ingenious n55 lantern, in the master's hands, announces the secrets of austere perspective.