since 24 years I think theater is the
place of observation and
relationship first of all between people and
I think it’s the place extremely
functional for people because to his
materials are created and formed
absolutely referring to men and women
since 24 years or practice the actress
He has been at this job for 17 years
to conduct workshops in the field
scholastic education and in the field
psychiatric as you heard and then
in mental health departments and is
just starting from the work of an actor
that I would like to tell as I think it is
why theater is the place
beautiful to take care of yourself
of people and even of things e
then the place of the theater workshop
it is a place where the activity takes place
of the person who is translated though
in the actor his activity is
consisting of a physical activity e
then muscular and also from an activity
intellectual cognitive ie through
the senses I try to contact the
reality that outside of me what
I can get to know this and we do it
with two the actor does it with two objectives
with the aim of understanding understanding
those that are the words that
constitute the actor’s body for
sorry for the character for
to interpret it is also to put it in the
body then understand and put in
body what are the words
of the actor now in this relationship
according to me, the actor with the language
with retracing this language
there is a very interesting movement
which constantly replicates the aspiration
of man to be to some extent
free
free probably also from words
so first of all what you are
realizes in this movement between
character person actor and words is
a virtuous circle
a movement that tries to free
the man from the conditioning of words
in the psychiatric field when you hear it
talk about stigma refers to a
sign a word that you read
in the face of the patient who is positioned in the
body and from there it is difficult that yes
move now then analyze the route
of the actor in the game in the dialogue with the
words means just looking like
for all the people to give the
possibility to question
one’s condition is the condition
so each one should figure for the
mentally ill the person who struggles to
having social relationships is in
difficulty taking care then and
returning to the theater and trying to
understand the value that theater has in
mental health field therefore in
also educational field for each of
we must consider that the person
it is what it does that constitutes
the actor
the words are those that make up
the character is the actor what he does
basically uses the words of the
The character looks at them
caresses puts them on himself for
be able to realize what is the
character through interpretation
because we who look we must
be able to recognize that here is that
that I see is actually Hamlet
because Hamlet when he says to be or not
to be
He walks around the stage and moves
unlike riccardo iii instead
he says the winter of our discontent
etc. etcetera and hunchback and quality
the different movement ratios
I said in this actor’s report
that is a person develops
the interpretation but the actor who is
translated by the person into reality
he realizes this when he draws on the
own sensitivity to one’s own
physical capacity
and what happens happens that nicely
the actor impacting the words
using them by jumping and
putting them on itself makes it extremely
I live the language but above all the
relationship that he has with words
what actually happens words
hopping lives are formed they enter
relationship with things is a game that in
some way we should remember why
from small children the words connected to
things when we were little ones spring up
so in an attempt to intercept one
reality outside of us but what happens
in thaad ulta it’s not like that anymore
this pure power of the rising of the
words a little asleep
probably with the habit or
probably with the attitude that
we have to believe true and to know
for real things but words are not
the things
and here then in this game of the
report the theater maybe we start to
to guess what kind of power it can
for all intents and purposes is for
all accordingly in the laboratory
theatrical in the field of mental health me
it usually happens so that it arrived and
I tell my present attendants
laboratory colleagues I say well now
here we will do theater and they will respond
usually no no no no no i do not
I do those things there no no I do not
it’s interesting I know what theater is
I do not want to do it, they’re not capable of me
I am ashamed I have no excuses
then we do so I say not
let’s call it theater we do not call it
at all we do do something
together
that is, what we do well for example
I say I would like to put a music now
and I would like us to play this music
we moved freely who no no I do not
I do not dance, I do not want to dance
I am ashamed in the midst of all of them all
they look no excuse, I say
I did not say dancing I said there
we move well if I can do
something interesting happens with the
half of the game something not stupid
or it’s too much somehow
and strange here is something in the group of
work changes the working group that
he met in the field of mental health is
very varied and difficult it is difficult to do
penetrate the work of the actor
within this situation because
the people I meet are in fact
hardened in the body are hardened in
joints a block in the
person I see it and people do it
they say i’m stuck i can not
I struggle
I can not relate but as I can
change here then the form of the
play through the theater buy a
particular sense something happens
different then we put the music
that we did not want to listen and we started to
move in the body moving in the body
for a person who brings a body into the body
pain is not such an immediate thing
but everything resolves by discarding the theme
of the form of work and movement
of the body that we perform there is none
form no practice no reference
some kind of dance to some kind of dance
of movement that would force us to
enter a canon
and then we start talking about joints
and then we begin to understand if the pulse
exists what possibility has and what
presents under the fingers and how
they combine with the wrist and the wrist
we pass on the arm to the shoulder and here
what happens that my thought is mine
the thought of me acting is really
in the body but they are not just words and not
it is a strange or visionary form of
approach the body in the laboratory
theatrical is precisely the possibility that
I have to be with what I do
eyes are okay even if they move
from here the ears are okay
I listen to music and I do if the
thought my attention goes away
I see the sign from the body and ask
to reenter this condition of
absolute sense of order what
it happens in the laboratories and this is it
through the body I perceive the
possibility of the order of something
caressing
something that above all I lead into
free way from
conditioning therefore not only of the
words but also of the use of the body
which is natural as it is easy
to understand returns to bloom again
but what happens in the bloom again
in words and both in the use of
body particular things happen when
I speak
the formidable means of the word
used by the actor that I reply
in the theater workshop is that for
impact the word I have to use mine
voice
the instrument of the voice that impacts the
words creates a virtuous circle of
report for which simply the
blood circulates maybe a little bit more
the recycling of blood and a little more
accentuated and eventually comes a
good humor to say the truth then in the
class happens that at some point it is
possible through the indication
I have the perception of a space that
it simply moves around me
making a small move when
the actor decides to move a chair
here is the clear perception that
everything changes and moves around me if
even the shift of only 45 degrees changes
my spatial relationship is my front
becomes this I know you are there but
if my colleague behind me if
first I told him love
now if I have to say it in this other one
this other vision and spatial posture
I will rotate my head 45 degrees
I know he is there and that to say love
change now is very important second
me to have even the feeling of the
possibility that reality outside of me
can change
where the mentally ill the person in
difficulty or the child who must
grow there is no distinction learns
physically he feels it in the body or
in the voice that something can change
well, things really happen
interesting
and then I decide that from this
mobility we can start to
play the game consists precisely in the
use the work I know
on the actor the actor must develop a
certain number of actions that he can perform and
more and more is the number must be
trained in the ready reactive body
voice must be ductile ready to
change of tone to impact those
words to put that circle in the field
which is virtuous of restitution aside
of the word impacted by this great one
energy that is vital
sure it is not so simple because in
reality there is a great reticence the
sick is precisely that constituted in
a class that most of the time
precisely says no I do not want and it is
variable because if a week ago
He wanted to do even two days ago
today it does not have it anymore and it is not simple
we need to find a way to do and
how to do and simply mean
do not have programs that do not decide
nothing to do with the class of
work but remain open to a kind of
constant dialogue therefore a relationship that
develops between me and the colleague of
laboratory or if you want the patient in
very natural dialoguing way is not
never a positive report from me
even if I am very energetic about it
that I say there is no piety in ours
relationships there is a relationship that tends to
be equal and therefore very normal
and from this relationship can arise
some very interesting things
he makes a surprise but not mine
because I always see them inside and
only inside the laboratory
theatrical for me are always very good
the surprise is actually reported
from the operators who are with us in the
theatrical workshop see the work
that we do together they do it and then
follow the patient in the path of care
beyond the theater workshop usually
the reference is that if in front of the
health personnel
people are reticent to
speak
almost immobilized in the laboratory
theatrical happens something different
of course we must set it from a point of
view of the game of knowing it in some
way we are always dealing with us
research of our way of acting
the words and things I firmly believe
that the value of the theater and the caress
fundamental of the theater that I have
tried to present declined in the
work of the actor ie of the one who
impacts the words that you put in the field
this virtuous circle of relationship then
replicated in the theater which is a sum of
relations
I think I said the caress of the theater
it consists precisely in this that is in the
report that between the character
the actor the words and the person there is one
small distance to fill and
crossing this distance creates a
movement that exhorts those who do or even
who observes him to conclude that there is one
fantastic distance between words and
being and this is what without
bother any kind of reason of the
particular reasoning or philosophical reasoning
entering the actor’s body in the
practice that makes use of one’s own
body and words are perceived in
so that the stigma we have
spoke those words that sometimes you
stick to being in this
distance practiced can stop
immobilize people and then in
substance in this fantastic practice
to make the person re-echo
possibility to feel free free
to the extent that it becomes available again in
some measure authors of our talk
authors of our talk in relation
the theater is all this
the work of the actor does nothing but do
move and dance all of them
words thank you
[Applause]
”
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