MASCHERE e RITI - Provincia di Treviso

MASCHERE
e RITI
CARNEVALI
ARCAICI
dei
Veneto
& Dolomiti
nel
Maschere popolari trevigiane
tra Ottocento e Novecento
Il Carnevale rappresenta da sempre una festa del popolo. Lo stesso “mascherarsi” rappresenta l’espediente per
allontanarsi dal quotidiano, per abbandonare temporaneamente il proprio ruolo sociale e formale.
È un momento in cui ogni regola decade per lasciare spazio alla maschera consentendo un rito d’inversione che
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vecchi carnevali, in alcune zone del Veneto sono ricche di immagini augurali di abbondanza e fertilità. L’assieme dei
personaggi del corteo carnevalesco indica “le forza universali” presenti: sono le anime degli Antenati, degli spiriti ctoni,
che ci rassicurano sul rinnovamento del nuovo anno.
La mostra “Maschere e Riti dei Carnevali Arcaici del Veneto & Dolomiti” ha suggerito al Gruppo Folcloristico Trevigiano
l’idea di riproporre alcune vecchie maschere cittadine.
Esse esprimono la compenetrazione tra cultura urbana e cultura rurale, tipica della Marca Trevigiana: si presentano
sempre in coppia, mediatore-contadino, compare e comare, “revendona” mora e “revendona” bionda e così via. Sono
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sempre più importante nel nostro tessuto sociale.
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Anche per questa riscoperta, frutto di un costante impegno di ricerca e approfondimento della cultura popolare, va
il più sincero ringraziamento della Provincia di Treviso al Gruppo Folcloristico Trevigiano e alle altre associazioni che
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Leonardo Muraro
Presidente della Provincia di Treviso
3
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Durante il carnevale, infatti, la particolare percezione del tempo e dello spazio permette a tutti i partecipanti di sentirsi
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peculiare del nostro territorio e della nostra tradizione.
La Mostra “Maschere e Riti dei Carnevali Arcaici del Veneto & Dolomiti” e la sezione “Maschere Popolari Trevigiane
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studi e ricerche.
Il Museo contribuisce alla tutela e alla valorizzazione della cultura popolare locale, intesa come insieme di credenze, di
espressioni verbali, gestuali e comportamentali che scaturiscono da una consuetudine collettiva lentamente formatasi
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popolari della propria terra tramite la conoscenza diretta dei manufatti locali e del loro utilizzo, nonché della memoria
familiare e personale.
Floriano Zambon
Vicepresidente della Provincia di Treviso
5
Nane Caregheta,
visto da Gianni Anselmi
6
TEMPI NUOVI, MASCHERE NUOVE
Con l’annessione al Regno d’Italia e l’avvento di un nuovo assetto politico-economico nel Veneto la creatività
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Erano anni pieni di fermenti, con l’emergere della questione sociale, la nascita dell’industria, la crisi dell’agricoltura
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7
“i do compari che contrata l’affar”
I DUE COMPARI
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$Q]ROHWR6SjVHPLFKHUDSSUHVHQWDYDJOLVWXGHQWLGL3DGRYD)DFDQDSSDFKHHUDLOVLPERORGHLIULXODQLsparagnini,
0DUFR3DSDUHODUDSSUHVHQWDQWHGHOORVSLULWRJDXGHQWHGHLYHURQHVLHYLDPDVFKHUDQGR
/DPDVFKHUDWUHYLJLDQDHUDGLIIXVDÀQRDJOLDQQL¶FRQLOQRPHGL1DQH&DUHJKHWD o Caregheta el Mediator
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VSHFLHDOO·RVWHULDVLFFRPHqXQRVFRFFLDWRUHDOOHVXHULFKLHVWHVLULVSRQGH“no ghe xe posto par ti, me manca ‘a
carega”DOFKHOXLULVSRQGH“la go mi la caregheta” facendo vedere il seggiolino nascosto sotto il tabarro oppure
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pronto “go mi el goto”HPRVWUDXQELFFKLHUHGLPHWDOORFKHWHQHYDLQWDVFDRSSXUHDWWDFFDWRDOFROOR6HSURSRQH
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Con la bagolinaSLFFKLDVXOOHERWWLSHUYHGHUHVHVRQRSLHQHHDO]DOHJRQQHDOOHUDJD]]HGLFHQGRFKHGHYHYHGHUH
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I suoi detti tipici costituiscono una serie di proverbi e modi di dire diffusi nel mondo commerciale del secolo
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9
Rito del tajaman par serar l’afar
LE MASSIME DEL MEDIATORE
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qua par combinar”.
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magnàndose i dei”.
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te paghi gnente”
“I omeni xe come i meloni: de diese, ghe ne xe tre de boni”.
“I boni afari fa i boni amissi e i boni amissi fa i boni afari”.
“Marcante o marcatin; no ghe manca el so quatrin”.
“Chi no se incontenta de l’onesto, perde el mànego e anca el çesto”.
“Tera mora fa bon pan, tera bianca fa paltan, tera rossa patate
americane”.
“Un bon scodidor xe un tristo pagador”.
“El poro can in man de l’avocato xe come un sorze in boca
del gato”.
“A lume de candela, no se stima né dona né tela”.
“La bona càneva fa el bon vin e la bona cavala fa el bon
pulierin”.
“La cavessa liga la bestia e la parola liga l’omo”.
“Tanta tera tanta spesa, poca tera tanta resa”.
“Col bocal xe svodà, el contrato el xe serà”.
“L’esperiensa xe la mare de la siensa”.
“Pagar e morir ghe xe sempre tempo”.
“Chi no ga orto e no copa el porco, tuto l’anoga el muso storto”.
“L’ocasion fa l’omo ladron e la dona frascona”.
“Bò par arar, vache par semenar”.
“Un scheo de mona in scarsela no fa mai dano”.
“La bona grepìa fa la bona bestia”.
“El pan del mona el xe el primo magnà”.
“Vin sul sasso, meloni sul grasso”.
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Chi co le vache lavora la tera va al mulin con la puliera”.
“La bote canta ma el goto pianze”.
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“Mejo dar e pentir che tegnerse e patir”.
“Tre robe vol la campagna: bon tempo, bona semensa, e boni
brassi”.
“Loda la montagna, ma tiente al pian; loda la polenta, ma
tiente al pan”.
“Presto par natura e tardi par ventura”.
“Ojo de sora, vin de mezo, pomi de fondo”.
“De setembre e de agosto, bevi vin vecio e lassa star el mosto”.
“Fame fator un ano, se no divento sior me dano”.
“Mi no vago a combàtar, ma impenir la me pignata”.
“Tera nera, bon pan la mena, tera bianca, presto la stanca”.
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“Drio el campo vien fora la gombina”.
“ A bona porta, bon bataor”.
“Casa fata e vigna posta no se sa quanto la costa”.
“Presto al marcà, tardi a la guera”.
“Galina pelada no fa vovi”.
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“Grassa cusina, magro testamento”.
“Marcante de ojo, marcante de oro, marcante de vin, marcante
povarin”.
11
Ambulanti nel giro de casàe
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Ogni giorno de marcà
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el vien sempre consultà
da paroni e da fatori.
Lu conosse ogni mercante,
betolier o marcantin
e co un far acomodante
el tira l’aqua al so muli.
Lu se imbusa dapartuto
come el fusse a casa sua;
par bagnarse el beco suto
ghe vol solo ‘na batùa.
Lu el conosse ogni ciesura 1,
prà o tera da vassor
e coi passi el la misura
mejo de un pertegador 2.
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de morosi, e a nosse fate,
el se ciapa co piasser
un bel baro de savate.
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porta vanti el so mestier;
ora serio, ora macieta
el sa farse benvoler.
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che da lu no sia tratada,
campi, case, vin, boarìa,
paja, fen, formajo,biada.
El va in giro su un saret 3
co na scuria da carioto
par guidar el so piavet 4
e tegnerlo sempre al troto.
Lu el te bate le casàe
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par un poche de forcàe
de leame o stramedel.
Co ‘l se ferma a ‘na cieseta 5
el tol tripe co un quartin
e in tabaro o in porçeleta 6
sona sempre el so tacuin.
1
2
3
4
5
6
ciesura: podere, terreno con casa
pertegador: agrimensore, stimatore
saret: calesse, carrozzella
piavet: cavallo di razza Piave
cieseta: osteria, bettola
porçeleta: giaccone, giacca imbottita
13
“Revendona” venditrice di uova
(disegno di Lorenzo Viola)
“Revendona” vista da Luigi Serena
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(disegno a carboncino di Sante Cancian)
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&j0DWHD&DVLHULPSHUVRQDDQFKHODÀJXUDGLBepo Gobo da Casier, il popolare astrologo e venditore di lunari e
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XPRUDOHXPDQLWjFKHYLYHYDQHOSRSRODUHTXDUWLHUHGHOOD“Cale de oro”, completamente raso al suolo dal tragico
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revendone
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“Revendona” Venditrice di oche sulla panchina
di Luigi Serena
Compari e comari al marcà
SUMMARY
NEW TIMES, NEW MASKS
With the advent of the reign of Italy a new political and economical order was established in tne Venetias and this change reflected also in the
appearance of new theatrical characters which became tne recognized symbols of the emerging social categories.
Differently from archaic masks for which disguising was essential to enter a new dimension, the new masks were linked to the reality of the
moment and their clothing was functional to the identification with a particular group or category, stressing their whims, favourite words and
idiosincrasies.
In the passage from the XIX to the XX century new couples of characters expressed the changing of relations beyween town and country in the
Trevisian area: the “jolly fellows” and the “merry wives”.
The fellows, both named Nane (Johnny) are probably linked to the local theatrical tradition of the “Zanni” from the Comedy of Art.
The wives are street vendors of poultry and vegetables taking their name from the square where they carry on their activity.
THE TWO JOLLY FELLOWS
In old times nearly all cities had a masked figure representing the character, the jobs and the flaws of their inhabitants. Treviso was symbolized by
“Nane Caregheta” or “el mediator”, that is the middleman who pretends to know everyone, every gossip, every goods. He is a well-known guest of
inns, where he is outstanding in drinking and card-playing. He attended also the winter wakes in the country; he is characterized by a walking cane
and a small chair which he carries around under his cloak.
He usually speaks using proverbs, old sayings and slang phrases which express hos debt to rural culture.
He is sometimes accompanied by his chummy friend Nane de le oche, a farmer coming to town to sell his geese and to test the wines of taverns.
THE TWO MERRY WIVES
The counterparts of the jolly fellows were the “merry wives”, people women who bought poultry and vegetables from the farmers and sold them
in town operating in streets and squares, not shops.
They wore colourful garments and showed rich jewels to underline their their status of independent women, becoming thus one of the favourite
subjects of Trevisian artists.
The fair-haired wife is known as the vendor of Hens Square while the black-haired vendor is named after Rabbits square.
PERIOD MASKS
Some masks are so closely linked to the historical period in which they live that they are quicly forgotten when their age is over.
This is the case, for instance, of the Count Titta Rinaldi who played tricks to cops in the Austrian rule, like Marquis Del Grillo in papal Rome.
In the monarchic era the spirit of the time was embodied by the stationer Perale, who introduced the rite of burning the Witch for Mid-Lent.
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