The Myth Behind the Community
In this publication we intend to provide an anthology of the experiences that eight theatre groups have lived and realised together with the communities that welcomed the project. The pandemic opened up eight very different ways of approaching theatre work and crisis intervention on a social and cultural level; eight distinct ways that put the community at the centre of their theatre work where the cultural system is least present; generating strongly participatory, active and maieutic paths, with the aim of building a living relationship with citizens, and lasting over time. The project was able to intervene at various levels on the problem of identity, decidedly frayed in some contexts, strongly rooted in others. It has generated ‘places’ where human landscapes and social architecture seemed rather evanescent. Places of the gaze, places of sharing, places of study, places of memory, places of dreams, places of struggle, and places of encounter.
As you will observe, this book is not intended to provide answers or solutions: rather, from the theatrical practice carried out within the project itself and from its narration, emerge the right questions to interpret the society we live in and give the right value to the cultural phenomena that animate the communities that form our Europe.
It also intends to make its readers reflect on the need to implement, and support with greater force, a certain type of cultural action: to reduce the gap that exists between the large cities and the peripheral areas of the continent; to increase the guarantee of accessibility to culture and theatre in the limes’ territories; and to enable the social classes less accustomed to cultural enjoyment to artists and artistic products capable of transforming their way of seeing the world.
The Ninth Sense
The speciality of talking about theatre this time promises to be that, if you read this book, you will learn more about psychological and psychophysiological, anthropological, and related art theoretical fields of knowledge in relation to human performativity. If you are a theatre person, you may not have thought that these fields of knowledge play a role in your daily work, or if you did, you may not have known their interrelationships and science. If you come from the world of the humanities, you may have always thought that theatre, in its various forms, could be a subject for scientific study, but you may not have yet come across a study that summarises the relevant knowledge.
I wonder whether this book will succeed in filling such a gap. In any case, my excuse is that, although I have been bringing these two disciplines closer together for fifteen years, new perspectives still open up every day; I hope that I will have the opportunity to explore them during the rest of my life. For now, however, I must stop somewhere and summarise all I have found so far in this subject. Come with me.
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Co-funded by the Erasmus+ programme of the European Union.