Sisto Dalla Palma (text collected from Ida Senoner) When I think of Europe not a dream, a horizon where we can not reach a real involvement, as if Italy was a enclave separate and distinct from the rest of Europe. Moreover, even in Europe, some fundamental choices become the responsibility of large bureaucracies. I believe, not to be abstract or general negative attitude about this, that the reference point that we have in mind is that of a country where theater really matters and where the theater is done, you measure in new, strong all-pervasive in companies with the ability to stick really needs. It seems to me that this is all in all the Anglo-Saxon model in which more and historically there have been attempts to put a wall between politics and culture and to ensure the autonomy of culture and theater.
Through the international network we have entered the most significant moments of our production, particularly that of Emma Dante, from "Carnezzeria" to "Dogs of banks" to "Scimia" that toured France, Spain, Netherlands but also in South America In any case I think the international connections demonstrate not only that there are areas outside of the whole texture, but in some cases it is easier to stay abroad, out of combinations of logic trade and moving in a perspective of absolute autonomy of art and cultural options of the various directors
All our products (and I'm talking about a number that is among the seven, 8:00 to 9:00, over two years), all contemporary drama. This classification is an element of some 'extrinsic. I would say that we are less interested in autonomy of the text, dramatic literature and theatrical works that are more an expression of a drama group and an ensemble. This, for example in the case of Emma Dante, I think that is absolutely obvious. But in addition to Emma Dante Autelli we presented, we presented Facchetti, we worked with Mimmo Sorrentino, who was not present with a general text, but developing a collective moving drama schools of the real problems of boys. And this is a subject that should be taken into account, because it exceeds the old logic of the author locked in his old tower of ivory, in his workshop to prepare literary texts, but rather moves in a direction of a network of relationships reports in which the land provides the drama and theater of experiences on which to work and turn and lead to representation.
In turn, the theater is able to break into the territory, returning emotions, experiences, values, expectations, problems that the territory, the school have the courage to express. From this point of view we are just working on a training project for actors, artists in field of social theater that will be able to intercept these experiences and that you put in the perspective of group work and social theater.
But what is possible is to build a collective entity capable of writing system to be connected immediately to the grassroots.
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