Il Mulino di Amleto is a theater company. It was founded in 2009 by a group of actresses and actors graduated from the National Drama School of Turin (Scuola del Teatro Stabile di Torino). Artists who have been joined over time by other artistic, organizational and distributional collaborators. In the Bio , Awards, Poetics you will find all the useful information to learn more about our company, our work, our references and our collaborators.
We strongly believe that artistic research must be courageous, full of risk, independent and free. Always start with a question: what does it mean for me to do theater today? Where to look for meaning? Surrendering to currents, fashions, models or inexhaustibly trying to ask myself why the spectator has to come to the theater? What is my position as a man (as well as an artist) in front of the viewer? Where is the energy and love that drives us to talk with energy and love to other artists and viewers? Marco.
About us. “We found the people of Il Mulino di Amleto, who here – frontally and in an irreverent way – put on a sparkling text by Magdalena Barile,”Senza famiglia/Without family “, destroying one of the most consolidated institutions of our society, very amusing and professionally mature. In this case we are no longer faced with a promise, but with a certainty in the panorama of emerging Italian theater, a group that has already excellently measured itself both in the children’s theater and in the revisiting of the classics. ” Mario Bianchi-Krap’s last post.
“What relationship will they have with the actors who are about to start the play (Louis Jouvet asks at this point)?
This question continues to arise after seeing Il Mulino di Amleto for the second time and I cannot find an adequate answer; the only one that comes to me is that – those who make up the company – are able to give back to the spectators the maximum possible humanization even within a show characterized by the maximum possible theatricalization. There is a formula that Jouvet uses and which seems appropriate to me: “A great work” he writes, “it is a possibility of reconciliation with the spectators” but, to be so, it must first of all be “an encounter between men”. Alessandro Toppi www.ilpickwick.it