“蒙塔托·迪卡斯特罗新剧院的设计有两个目标：建议将其作为衡量领土的概念模型，同时试图通过建筑表达观众感受到的戏剧活动的魔力。

“The design for the New Theatre in Montalto di Castro has a twofold objective: it is proposed as a conceptual model for measuring the territory and at the same time it attempts to express, through architecture, the magic of a theatrical event felt by the audience.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

蒙塔托·迪·卡斯特罗(Montalto Di Castro)的领土归属于伊特鲁里亚人化(Etruscan)，其废墟证明了由块茎中巨大的立体组成的建筑；在当代集体想象中，蒙塔托·迪·卡斯特罗(Montalto Di Castro)唤起了意大利最大发电厂的机器世界。该设计提出了一个时间短路，其中领土的演变是集中和表达在一个独特的建筑时刻：古老的伊特鲁里亚与美学的机器。

The territory of Montalto di Castro sinks its origins into Etruscan anthropization whose ruins attest to architecture comprised of large stereometric masses in tufa; in the contemporary collective imagination Montalto di Castro evokes the world of the machines of the largest Italian power plant. The design proposes a temporal short circuit with respect to which the evolution of the territory is concentrated and expressed in a unique architectural moment: archaic Etruscan versus the aesthetics of the machine.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

新剧院是一座大型混凝土石，其特征是颜色和质地的细微变化，而苍蝇塔似乎以一种空灵的方式栖息在上面：白天去物质化的肺泡聚碳酸酯体积，白天变得与天空无法区分，晚上从内部发光，变成领土尺度上的大型“灯笼”。

The new theatre is a large concrete monolith characterized by subtle variations in colour and texture, on which the fly tower appears to rest in an ethereal manner: an alveolar polycarbonate volume that dematerializes by day becoming indistinguishable from the sky, and lights up from within by night transforming into a large “lantern” on a territorial scale.

 © Pietro Savorelli

c.皮埃特罗·萨瓦雷利

一个新的，延伸的，在石灰华和混凝土广场，被设计为一条为通往历史中心的道路提供改道，导致新剧院的入口被一个令人印象深刻的悬空屋顶所识别。它向游客介绍一个连续的环境，大厅和礼堂之间自由流动。木墙，与他们的折线，创造了一个空间，从概念上从挖掘混凝土独石。这种形态的沉重与材料的振动相矛盾，这种振动似乎包住了大窗帘中的空间，并向观众介绍了期待已久的舞台窗帘的神奇开启。

A new, extended, piazza in travertine and concrete, designed as a diversion of the road providing access to the historic centre, leads to the entrance of the New Theatre identified by an impressive overhanging roof. It introduces visitors to a continuous environment in which the foyer and the auditorium flow freely into one another. The wooden walls, with their broken lines, create a space conceptually derived from the excavation of the concrete monolith. This morphological heaviness is contradicted by the vibration of the material that seems to envelope the space in a large curtain and introduces the spectator to the much awaited magical opening of the stage curtains.

可容纳400人的礼堂，在露天竞技场可容纳500人，因此可从剧场舞台中获益。“

The auditorium that seats 400 has its counterpart in the outdoor arena that seats 500, which can thus benefit from the theatre stage.”