Lo spettatore alla prova del disgusto

Doppiozero , 2015

2021

Questo scritto è un racconto delle esperienze teatrali vissute dal regista in contesti profondamente diversi: i campi profughi palestinesi, le strade di Managua, un viaggio a piedi attraverso l'Europa al fianco di un attivista congolese e la creazione di uno spettacolo in un villaggio del Senegal. Nel testo è narrata la trasformazione da una ritualità teatrale tradizionale che prevede lo spettatore seduto in platea di fronte al palcoscenico a uno "spettatore in cammino" alle prese con un ruolo più attivo. Lo spettatore in cammino diviene l'emblema della necessità di ripensare le pratiche culturali nella zona liminale venutasi a creare tra il dissolvimento del vecchio sistema culturale e il nuovo mondo che ancora non conosciamo. In questa necessità di comprendere come ricostruire una relazione tra artisti e cittadini, la lezione appresa in contesti completamente diversi può risultare preziosa.

L'ora dello spettatore, a c. di M. Di Monte, Roma, 2021

In art, as in life, for things to work, it’s almost never possible, nor is it always useful, to say everything, to reveal everything at once. More often it’s necessary, and sometimes it’s profitable, to give our interlocutors the opportunity of exercising their “wonderful sagacity” in “filling up these vacant spaces” with their own conjectures, as Henry Fielding warned in "Tom Jones", thinking about “the good and advantage of the reader”. The essays of the present exhibition catalogue are devoted to that “wonderful sagacity”, for it seems we have to admit that many readers do not even know they possess that particular skill, even though they exercise it spontaneously, and many beholders (above all) do not even exercise it – or at least less than they could do – precisely because they do not know they possess it.

Musica Docta, 2011

Mimesis Journal

At the centre of this essay is the problem of the spectator, the problem of the spectator, analysed from a circumscribed historical field - the stage. of the spectators, analysed starting from a circumscribed historical field - the 19th-century italian scene Al centro di questo saggio sta il problema di chi guarda lo spettacolo, il problema degli spettatori, analizzato a partire da un campo storico circoscritto – la scena ottocentesca italiana

In Knowledge And Error, Ernst Mach reduces the individual's own experience to a set of sense data, including both physical and psychological processes. “Self” is constituted by the union of these processes, without a metaphysical principle acting as “spectator”. There is a shift from cartesian dualism Self-External World, the former being considered res extensa and defined properly by its activity of thinking. Kant as well identifies the “Ich Denke” principle with its self-conscious activity. There are seeds of Mach's conception in Locke's thought. In Human understanding mind only seems to passively receive external stimuli and to elaborate them. But is still free to choose how to work. Considering mind processes external to the self is typical of Indian philosophy. Buddhism denies self substantiality, hence positioning very close to Mach's position. This conception has two major consequences: (1) claiming that human mind originates in a biologically determined way. (2) Free will is denied: human behavior is determined by external stimuli.