Venice march 2014
Love may be blind, but it’s not deaf. Laically, I imagine that what we call “soul” is actually “sound”, the cell of the inaudible sound of the universe. We — and all living beings — are interpreters of sound. Our soulmate? An assonance. So when someone asks me if I do theatre, I say, no, I’m a composer. And when someone asks me if I’m a composer, I say, yes, I do theatre. Because the two are intimately entwined. If we take Michelangelo’s dazzling insight — you see a block of marble: think of the image, the image is inside and you merely need to liberate it — and apply it to sound instead of marble, perhaps it is clearer. Every sound, unfolding over time, contains a succession of visions/narrations, and music and theatre are the powerful chisel with which to let them emerge by liberating them.
Tragedy was born from sound. Bearing this in mind, in 1996 I founded the teatrodelsuono together with the poet Edoardo Sanguineti and several friends. It is a mobile workshop that applies its research based on the assumption that all art in “motion” (theatre, cinema, words, gestures, etc.) is generated by sound and its organisation in music through its founding principles: rhythm, timbre, melody, harmony. So when a friend asks me for a definition of my research, suggesting categories like modern, postmodern, contemporary, I simply respond that I would like to become ancient.
In an age so dark in its deafening and overbearing “luminosity”, what is ancient, then, if not being human?