“Poetics” is a page that is always evolving, updated and built. It is grammatically disconnected, but connected with our Being. The search for the other.
“I am convinced that in the theater a truth is a set of truth composed of all the elements present at a given moment, if a certain type of combustion is produced, of” ignition “. The fundamental elements of this combustion are the hands, indeed the encounter between human beings and the courage to go beyond myself, beyond my convictions and idiosyncrasies, beyond my fundamentalisms and restrictions to allow the theater to generate this combustion in one invisible space between me and the other (my partner, the spectators, the text, the music, the scene …). Starting out in the daily work of artistic research with the Mill, means starting from these assumptions, indeed from these questions, indeed from this desire to research. If I think of our latest shows, I recognize a thin line that connects their diversity … this line, in fact, is called “the search for the Other”. Starting from a non-form, from a living and sincere desire to understand how the other can change my world, enriching my point of view, modifying my story is tiring, sometimes painful, long, difficult, but that’s what that in recent times we have understood to be the heart of our poetry. Whether it is Chekhov, Victor Hugo, Moliere, Shakespeare does not matter. What matters is to look for the roots of a meaning. It is understanding that forms pass, change, age, whereas human beings are always contemporary. These assumptions, of course, have changed and continue to change the way we work. The first task, in the rehearsal room, is to put an end to all models of stereotypes, but certainly not to reduce everyone to a condition of neutral anonymity. Stripped of its technical or daily mannerisms, an actor becomes even more a human being, we arrive at a point where behaviors and ways of expressing are no longer predictable.
A new situation emerges that puts the people in the work group in the best position to create together something that acquires a color of its own. We have verified that this result is possible only if certain working conditions exist: sufficient concentration, sincerity, creativity. The research we develop aims to create creative freedom for the actor on stage, so as to enliven the show every time and not make it a frozen replica. This exposes the actor and the show itself to a great risk and always requires, always presence and concentration. The actor who has refined and is able to stay sincerely and deeply with the partner on stage, understands through the impulse, through his developed sensitivity which is the “right” gesture to do to convey meaning, as the joke must be pronounced and will create “solutions” and unexpected ideas. We do not exclude the error in this path, indeed it is an integral part, since what is created is given by “instinctive, impulse”, not by a pre-established choice at the table and recreated perfectly. My task is to guide this “retrace”, specify which path a relationship within a scene must take. For this path a strong dramaturgy is necessary, since the text, the word are deeply gutted, and are necessary to create the relationship between two characters, but first of all between the two actors. A caress given with a certain intensity can replace a joke and here we also proceed to the definitive phase of adaptation of the text, but it may be that after 4 replies that caress has nothing to give to the two performers and then to the spectator and behold that only they “from the inside” can understand it, be so in tune, so together, to transform that gesture and that caress will change, but the meaning and the meaning will not vary. This relationship is sincere and true, it really takes place on the scene, so it cannot but be alive and create “danger” for the viewer who remains vigilant, participant … Our goal is to find something in the theater that can touch people how music can do it . ” Marco and Il Mulino.