nostos_

1995 – 2005 ten years of theater research
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nostos fronte copTwo reasons and an attempt for an unusual title. The first reason is the occasion of an anniversary: the tenth anniversary of a theater workshop, which did not want to give the character of the company, but through its own initiative was able to survive despite its specific character, the dramatic search and development , were at this time subordinated to a economic and cultural power most attentive to the established conventions of traditional theater and more generally at the guarantees of success of mass communication.

A research that has outlined a horizon of an active and making theater that has privileged the study and analysis of the mode of theatrical production, of a language to physical matrix, which has sought in the body of the actor, in the disciplines and in the formal method of his physical actions, an expression devoid of anything accidental and contingent, an easy spontaneity of a narcissistic exhibition of emotions. A horizon conscious of the need to focus on their own experience the disese and the social exclusion, to remove through the practice of theater, the obstacles that prevent the person to manifest itself total. And in the ambit of movement of thought, determine itineraries and paths to meet the Eastern Theater, his poetic and conventions, its abstraction and its impact force, to call into question, in the theatrical art, the prevalence and dominance of cognitive datum on perceptual datum, the denial of the mystery, the insistent production of meaning.

Called in question the conventional theater space and its architectural function of building-container, exploring that every theatrical representation does of the relationship person/world and event/ space which refers to the proxemics and to the active involvement of not more a only spectator, but of a witness-bystander; in the ability to deal the problems related to the definition of a space, that’s right for every show, but did not expect.

A transgression-rejection-research that coincides with the re-appropriation of the cavity plays, so named by Richard Schechner, historical and open spaces, walls and squares, empty spaces which are the spatiality of the historic cities and that it witnesses the deep and magic connection that exists between architecture and theater. A connection which refers directly to the origins of theater and acts as a viaticum to a progressive approach and enhancement of Greek tragedy, in which the depth to capture the essence of a phenomenon, reveals the meaning of the myth and the magic of the ritual.

In called in question the conventional theater space and its architectural function of building-container, exploring which every theatrical representation does of the relationship; individual/world and event/ space, which refers to the proxemics and at to the active involvement not only of a just spectator, but witness-bystander; in the ability to tackle the problems related to the definition of a theatrical space, that’s right for every show, but did not expect. A transgression-rejection-research which coincides with the re-appropriation of the cavity plays, so named by Richard Schechner, historical and open spaces, walls and squares, which are the empty space of the historic cities which witnesses the profound connection that exists between architecture, magic and theater.

And again the progressive awareness of the subordination of the theater and the performing arts all, in the size of the largest and unifying culture, understood as a source of an artistic practice in which knowledge of the tradition of performing arts, plays an important role respect the results obtained; the consequent need to structure itineraries which provides the documentary research, ordered and systematic, the proliferation of cultural and cognitive instruments whose fruition allows and facilitate the self-management of creative processes and the dissemination of the culture of the performing arts.

The second reason lies in the sense of continuing to do theater and for whom. We know that in recent years we have turned to an elite, but an elite taken in all areas, people who love the theater, who regularly attend our shows, and that knows what we do. Often says or leaves written that nowhere like here, lives or has lived exciting emotions and a strong desire to learn more about the theater.
To these people we turned and continue to turn accepting to continue to walk hard routes, that we expect, the difficulties of the steps, the impetuosity of the tides, and the crossing of this transition.
Once again a try.
In the condition of survivors without shores.
And without nostos.
alfredo de venuto
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