Teatro San Materno

The theatre, an architectural gem built in 1927/28 for dancer Charlotte Bara, became well-known in the Italian part of Switzerland not only for the sacred, Egyptian-Gothic dancing taking place there, but also for the many performances, mime and theatre events, concerts and conferences hosted there. Its architect, Carl Weidemeyer was particularly versatile, and as a multi-talented artist, acted as an exceptional connection between Central European and Mediterranean culture.

This North-South geographical and cultural axis, together with the sheer variety of the offer, forms the backdrop to the theatre’s programme and activities. It must be noted that the theatre has recently undergone a sympathetic but comprehensive restoration, being very cleverly re-equipped with many innovative features thanks in no small part to the assistance of architect Guido Heel and advice from Peter Bissegger.

As a result of its history, particular characteristics and size, Teatro San Materno has developed into a type of theatre/studio, and this is, indeed, what distinguishes it, both in terms of its offer and activities, when compared to the programmes at other similar locations nearby, such as Teatro di Locarno, Teatro Dimitri, and Teatro del Gatto, or elsewhere in the Canton (Bellinzona, Lugano, Chiasso).

Having said that, there is a very high level of synergy between the theatre’s offer and other spaces and events in the local area, including those at Monte Verità, Museo comunale, Settimane musicali and many others.