has the simple or complex articulations of any instrument or machine. But, what's its job? It acts on the hearts, the dreams, the most hidden emotions. Detached from the actor-man, it is more accepted by the spectator as a symbolic part of himself, through a perceptive mechanism that seems very far from the simple identification, exactly as Brecht would like. From Jarry to Craig, from Kleist to Mejerhold, for many theatre masters it has been the seat of the new actor's paradox: in its apparent initial inertia there is all the amount of resistance that protects the maximum of potential; in its inexpressiveness, or rather in its pre-expressiveness in search of action, lies all the secret of presence; in its objective forms, which force actors and audience to listening, lies the necessary and mysterious incompleteness, the tragic or joyful unattainability of the character's manifestation...
San
Vito al Tagliamento (PN)
13th-30th September 2001
5th year: the marionette, or the actor and his double
workshops,
classes, conferences,
demonstrations, performances and more
between
Commedia dell'Arte
and the Supermarionette
Workshops conducted by: Roman Paska, Claudia Contin, Ferruccio Merisi
Communications by: Flavio Massarutto, Roberto Piaggio, prof.Eugenia Casini Ropa, Francesco Niccolini.
Performances and events with: Roman Paska, Salvatore Gatto, Giorgio Rossi, Giacomo Verde, Massimo Schuster e Thétre de L'arc en Terre, Claudia contin, Massimo De Mattia, Giovanni Mayer, Giorgio Pacorig, Luca Grizzo, Compagnia della Scuola Sperimentale dell'Attore, In Cerca di Kau, Alberto Bronzato, Eduardo Lopes, Alberto De Bastiani, Marcello Chiarenza