INDA
A contemporary interpretation of Classical Theatre in Syracuse.
The Istituto Nazionale del Dramma Antico (INDA) was founded in 1913, born from the vision of Count Mario Tommaso Gargallo. It was the nobleman from Syracuse who brought together aristocrats and patrons to shape an ambitious idea: to revive classical performances in the ancient Greek Theatre of Syracuse. That dream came to life on April 16, 1914, when—after more than 2,400 years since the era of the Polis—the theatre once again became a stage for ancient tragedy. Since then, each year from May to July, thousands upon thousands of spectators gather to witness performances featuring some of the greatest national and international artists of the stage.
BrandingTheatrical masks in a contemporary key
The restyling of the INDA brand offers a contemporary reinterpretation of two theatrical masks designed by Duilio Cambellotti. Originally rich in detail and drawn with a gestural mark, they have been simplified into an essential and uniform design. Circles and lines define the illusion of two faces, although there are only three eyes. At the bottom, two semicircles oriented in opposite directions distinguish the weeping mask of tragedy from the smiling mask of comedy. From a technical point of view, logotype and trademark are separated along a horizontal axis, resulting in a rectangle that becomes the area intended to accommodate graphic, photographic and typographic content, ensuring consistent communication.
The new composition preserves the conceptual core of Cambellotti’s original design and retains the Futura typeface for the INDA name. At the same time, it ensures flexibility across all configurations in which the brandmark and logotype can be separated to highlight various content areas—such as the theatre season, conferences, the Academy, and the Youth Festival.
Editorial & social communication.
The new brand language, developed from the restyling of the brandmark, adopts a strong, consistent, and immediately recognizable visual format. The approach relies on the constant and authoritative presence of the INDA logo in every form of communication, strategically reinforcing the Foundation’s visual identity. The brandmark acts as an institutional signature, while the specific content of each communication is highlighted within a rectangular graphic frame. In this way, the Foundation’s identity does not overshadow that of the performance, but rather certifies and enhances its message.
The system, as conceived, allows for effective application across all communication channels—both digital and traditional—enhancing brand recognition.
The Istituto Nazionale del Dramma Antico (INDA) was founded in 1913, born from the vision of Count Mario Tommaso Gargallo. It was the nobleman from Syracuse who brought together aristocrats and patrons to shape an ambitious idea: to revive classical performances in the ancient Greek Theatre of Syracuse. That dream came to life on April 16, 1914, when—after more than 2,400 years since the era of the Polis—the theatre once again became a stage for ancient tragedy. Since then, each year from May to July, thousands upon thousands of spectators gather to witness performances featuring some of the greatest national and international artists of the stage.
BrandingTheatrical masks in a contemporary key
The restyling of the INDA brand offers a contemporary reinterpretation of two theatrical masks designed by Duilio Cambellotti. Originally rich in detail and drawn with a gestural mark, they have been simplified into an essential and uniform design. Circles and lines define the illusion of two faces, although there are only three eyes. At the bottom, two semicircles oriented in opposite directions distinguish the weeping mask of tragedy from the smiling mask of comedy. From a technical point of view, logotype and trademark are separated along a horizontal axis, resulting in a rectangle that becomes the area intended to accommodate graphic, photographic and typographic content, ensuring consistent communication.
The new composition preserves the conceptual core of Cambellotti’s original design and retains the Futura typeface for the INDA name. At the same time, it ensures flexibility across all configurations in which the brandmark and logotype can be separated to highlight various content areas—such as the theatre season, conferences, the Academy, and the Youth Festival.
Editorial & social communication.
The new brand language, developed from the restyling of the brandmark, adopts a strong, consistent, and immediately recognizable visual format. The approach relies on the constant and authoritative presence of the INDA logo in every form of communication, strategically reinforcing the Foundation’s visual identity. The brandmark acts as an institutional signature, while the specific content of each communication is highlighted within a rectangular graphic frame. In this way, the Foundation’s identity does not overshadow that of the performance, but rather certifies and enhances its message.
The system, as conceived, allows for effective application across all communication channels—both digital and traditional—enhancing brand recognition.
