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In contrast to many contemporary directors, I would say that Paolo prefers to walk the path of absolute fidelity to the musical and poetic material he is working on. Apparently the simplest way: but in fact the most arduous and complex one because it requires the courage of a ”vertical thrust” of the aesthetic sign able to relate the past with the present in a perfect balance of forms, actions and meanings.
Of course, when I talk about absolute fidelity, I don’t mean a didactic or merely philological approach to work, but rather an attitude of deep respect for the “raw material” (music and poems) with the intention not to betray its nature and intentions. And here come into play the deep sensitivity and the poetic gaze of the director able to find in that vertical thrust the connections between that world, his own world and the world of those who will live the experience of theatre ”here and now”. Paolo shapes his vision in such a sense: and ”shape” is a key word in order to describe his way of working, because theatre moves from an idea but, like all the arts, can manifest itself only through perceptible, sensory shapes, built within the sensitive universe. In order to restore the power
of the original idea, they must be shaped by the téchne. He possesses all the “art of know-how” through which theatre from “idea” can become body, matter, emotional language. Specifically, my collaboration with Paolo could be described as a great, free flight, through an infinite space in which gliding with the imagination over unknown territories and discovering a new horizon beyond which to look.
However contradictory this description may seem compared to the rigor I mentioned above,
it is actually just definition of the clear banks of a path that allows endless possibilities of developing the theme in that direction ... and this approach to work is exciting for me.
Text by Domenico Franchi (set designer)
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