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If one had to condense into a formula the ultimate and poetically more decisive objective of Domenico Franchi’s multiform research (which undoubtedly materializes principally in his stage and costume design yet equally often travels beyond these orbits by following the most unforeseen trajectories), I believe that one should emphasize his inexhaustible research into the human condition. If this research is at times arduous, being deeply sincere, and often intimately inexplicable because it plumbs so deeply and hence encounters all the creatures - to a greater or lesser extent fearsome, yet ever diffident and circumspect - that inhabit our most unmapped and melancholy abysses, conversely one cannot fail to notice how the edgy explorations of Franchi as ‘visual artist’ never generate, not even in the existentially darker cases, desperate images.
Indeed, these frequently result in full-blown flashes of beauty and the sublime, based on a tension that in final analysis one could well define as profoundly humanistic though undoubtedly intricate, uncertain, startled and disturbing. Though at first sight it may seem surprising for a professional who, like Domenico, works specifically and principally for the theatre, I also think that his costume sketches (even more than their own ‘unwearable’ offshoots) are in particular to be read according to paradigms that lie beyond the narrow concerto of dramaturgical restraints and those of directing and stage design.
