I’m looking for a theatrical language in which the artist won’t stay in intermediary propositions. A language in which he will propose elements to their extremes, to the deepness of the emotions; there where the audience of our days is not used to go. A world of passions, of emotions brought to the emergency of survival where the spectator can find himself in the pure state of the human condition.
Moreover, I want to develop a provocative and sensitizing way of performing, that doesn’t allow the theatrical act to wither after the show but lets it take root in the consciousness of the spectator and thereafter in the memory of the collective. When the artist recognizes this reality we will start to see a theatre that goes beyond the individual, a theatre that belongs to all of us, a universal theatre.
Through a deep study of movement we could understand how the world moves in its organic way. And we can be able to identify and highlight the dramatic emotion of the movement; and this will bring us to discover invisible elements of the human condition and its society.
I believe in the cultivation of a life experience that goes through a metaphysical way of acting and I don’t believe in the cultivation of a death experience which cultivates dogmatic ideas and formulations about life. And in a constant development of society. I aim to mirror this development with stories wherein society can recognize itself, and which encourage citizens to engage for a better world for all races, social classes, ages, genders, religions, sexual orientations, national origins, and abilities; a better world for Humanity.