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"Whether for philological credibility, like the authentic trumeaux that Visconti demanded, complete with drawers well stocked with silk stockings, ‘But Luchino, that chest of drawers never opens!’ objected an assistant, and he replied, ‘It doesn't matter, the actors must perform knowing that that drawer is not empty’; or for its evocative power—the piece of furniture, perhaps just one, becomes a symbol of a specific cultural and social context—the stage furniture emerges from the generic nature of the prop department and begins to ‘speak’ on stage, taking on a well-defined role."
(Rita Cirio, "Alias magazine", September 1988)
Circo Medini was founded by one of Italy's oldest circus families. In the 1950s, it was brought to the big screen by Federico Fellini, who set part of his film “La strada” in their circus. Starting in the 1970s, with most of its activities taking place in the city of Milan, the circus took the name Circo Medini Città di Milano, whose shows enlivened neighborhood festivals.
"Whether for philological credibility, like the authentic trumeaux that Visconti demanded, complete with drawers well stocked with silk stockings, ‘But Luchino, that chest of drawers never opens!’ objected an assistant, and he replied, ‘It doesn't matter, the actors must perform knowing that that drawer is not empty’; or for its evocative power—the piece of furniture, perhaps just one, becomes a symbol of a specific cultural and social context—the stage furniture emerges from the generic nature of the prop department and begins to ‘speak’ on stage, taking on a well-defined role."
(Rita Cirio, "Alias magazine", September 1988)
Circo Medini was founded by one of Italy's oldest circus families. In the 1950s, it was brought to the big screen by Federico Fellini, who set part of his film “La strada” in their circus. Starting in the 1970s, with most of its activities taking place in the city of Milan, the circus took the name Circo Medini Città di Milano, whose shows enlivened neighborhood festivals.
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