In a provincial city where tourism brings economic relief on a seasonal basis, filling a theatre with more than 5,000 seats for approximately 1½ months of the year is no mean feat. Consequently, they are not offering totally experimental theatre, but raising the level of a popular approach that will still draw the general public.
Some years ago, INDA realised the importance of scenography and the advantages — also in terms of media focus — of appointing internationally renowned architects to design it. Now, after projects by Doriana and Massimiliano Fuksas in 2009 and Jordi Garcés in 2010, it was OMA's turn to come up with a set for the 2012 season.
The choice did not fall on OMA as the result of a precise strategy, but stemmed from a fortuitous chain of events based on a policy of extending famous architects' local commitments plus links between local professionals, INDA and prestigious foreign designers. In this case, instead of INDA approaching OMA, the latter initiated a dialogue that led to its appointment for the design, an appointment in which the long-term presence, in loco , of a member of the Dutch firm played a crucial part.
The far less complex OMA design succumbed to the many cost, safety and construction constraints imposed by the Sicilian environment. Yet, nearly all their inventions eventually proved effective for the narration of the works presented
By showing both the "rear" tubular structures supporting the walkway and the "machine", not only does the set break away from the concept of a backdrop so frequently required by the Syracusan theatre, it also reveals the existence and quality of the movements and machinery needed for the performance, the people who "invented" and actually built the structure. These figures are invisible to the audience but illustrate how investment generates experience, know-how and practical training and art generates a profession.