Dalila D'AMICO

the field of performing art. The aim of this work is to show how the perception of a disabled performer depends both on the consideration of disability in a particular historical period and on the narration in which we see him/her. For that reason, I propose to take for instance two different periods: the beginning of Twentieth century, when disability has been still turned into show and nowadays when some artists translate the illness into dramatic codes. The main hypothesis is that the artistic practices go beyond both stereotypes and available scientific theories, creating further lens for the reading of disabilit

La ricerca si propone di esaminare la relazione che intercorre tra il corpo e il soggetto nelle pratiche teatrali contemporanee. L'urgenza nasce dalla constatazione che, a dispetto dei mutamenti ontologici ed epistemologici che hanno investito negli ultimi cinquant'anni questi concetti, si continui a designare l'attore in scena in quanto corpo, chiamando in causa paradigmi stagni, che ora decretano la morte del soggetto, ora proclamano l'autonomia espressiva del corpo, senza forse tener conto di come effettivamente la scena declini oggi queste categorie. A partire dalla riformulazione della scena degli anni '60, la relazione tra corpo e soggetto, si è costituita come terreno di rinnovamento sia per le pratiche che per le teorie teatrali. La riformulazione della pratica teatrale si è attuata dismettendo il predominio della parola, destituendo il testo drammatico dall'egemonia di codificare l'intero spettacolo, a vantaggio degli altri elementi della scena...

Nel 2016 con un gruppo di dottorandi di Spettacolo dell’Università la Sapienza di Roma, abbiamo tenuto un seminario che si proponeva di riflettere sulla relazione tra corpo, identità e soggetto nelle pratiche teatrali contemporanee. Le tre categorie sono state infatti ambito di riflessione tanto in campo filosofico quanto in quello teatrale. Il seminario nasce da un’interrogazione intorno al termine ʻcorpoʼ, sopravvenuta a partire dalle questioni che la tesi di Dalila D’amico, Le aporie del corpo eccentrico, sollevavano. Che cosa si intende per corpo, di che cosa si parla quando si parla di corpo? Perché si parla di corpo e non di soggetto? Quali funzioni esplica il corpo-identità-soggetto in scena nel repertorio di spettacoli, ambito delle nostre indagini? Quali autori, studiosi, testi ci sono stati d’aiuto per elaborare le nostre analisi e trovare le risposte ai nostri interrogativi

My research focuses on the relation between the body and the subject in the field of performing arts (i.e. Dance and theatre). The goal of the research is on the one hand, to disclose how contemporary art practices rethink subjectivity by processing, comparing, and deconstructing its social images. On the other hand, to question the current methodological approach of the performing art theories. Despite the Identity Studies (Disability Studies, Feminist Studies, Queer Studies ecc) and the artistic practices are questioning the categories of body, subject, genre and race, the theatrical scholars, at least in Europe, are far from the adoption of methodological and linguistic instruments suitable for the interpretation of the artistic and philosophical contemporary scenario. The reformulation of the theatrical form took place trough decomposition of the whole of a genre into its individual elements. Text, body, lights, object, sounds are each treated as autonomous realities. Once the a...

A little more than a year after the death of Giacomo Verde, pioneer of video/interactive art, techno-theatre and Italian "artivist", the corpus of unpublished drawings and sketches in pencil, pastel and collage for videos, video installations and video performances by the artist from the period 1986-1992 is published. This is the first publication from the Giacomo Verde Archive and it illustrates Verde's first "techno-artistic" phase: a well-documented and creatively rich period, when in 1983 he arrived, self-taught, from popular and street theatre to video art, works and installations whose characteristic feature was the craftsmanship of the "technological artefact", the use of low technology and the addition of poor materials. The authors Anna Maria Monteverdi Dalila Flavia D’Amico, Vincenzo Sansone, dedicate the book to the warm memory of the unforgettable Giacomo Verde.

The paper focuses on the relation between body, subject and identity in the field of performing arts (i.e. dance and theatre). The starting point of the reflection is that, despite Identity Studies (Disability Studies, Feminism Studies, Queer Studies etc.) and artistic practices which question the categories of body, health, subjectivity and identity, theater scholars are far from adopting methodological and linguistic instruments that are suitable for the interpretation of the artistic and philosophical contemporary scenario. Today, the scene is populated by actors with strong physical connotations that challenge the adoption of uniform and stable categories in the interpretation of the actor’s work. Is it not reductive to designate the person-actor with the generic term “body”, despite the pluralism and differences present on stage today? What are the most appropriate tools to read, deconstruct and interpret the work of a disabled actor? To give an answer to these questions and to avoid the situation where my reflection returns the body to disciplines of social discourses, I propose to begin this exploration with an analysis of Chiara Bersani’s artistic production. Chiara Bersani is a performer with “imperfect osteogenesis”, a congenital bone disorder characterized by brittle bones that are prone to fracture. She takes her vulnerable embodiment as a starting point for her performative work and the concept of the “po- litical body”. With this term, Chiara Bersani means the display of a perpetual dynamic between the self and the other, between the individual and society, the singular and the universal, personal responsibility and the political dimension. The assumption of the paper is that the actor’s phenom- enology cannot be grasped by remaining within the limits of the scene and of theater pedagogies. Chiara Bersani’s works can perhaps offer a starting point to rethink the relationship between body and subjectivity in the field of the contemporary theatrical practices, provided that we rethink the latter category within the broader philosophical debate

In the 19th century, disability was turned into a spectacle through the freak shows, where deformities were enjoyed as something extraordinary to be observed. Today these shows are considered immoral and some disabled artists have retaken the power of exhibiting their bodies to challenge the idea of disabled as “other.” Such is the case of Sue Austin, the English artistic director of  Freewheeling , a project that transforms her life experience in a wheelchair into a spectacle. She dives into the Red Sea with her underwater wheelchair in “Creating the Spectacle!,” or paints ith the chair's wheels in “Traces from a Wheelchair.” With her performances she dramatizes the vulnerability of the body, claims the power of the chair, and brings the audience into an authentic dimension of participation. Sue Austin, rewriting the meanings of the disabled body image, gives us the opportunity to think through, from a pedagogical point of view, the potential condition of being a disabled perfo...

This paper highlights the complex construction of the meaning of the freak body operated by photographic practices in the 19th century. One of the first uses of the medium was the documentation of patients as a way to legitimate modern medical discourses on the body. The aim of this study is to stress photography’s role in the creation of categories such as “disability,” “deviant,” and “extraordinary”. The analysis focuses on Charles Eisenmann’s freak portraits, which can be read as a popularization of the general trend toward the classification of human diversity in the exhibition of disabled bodies.

The paper focuses on the technological inventions made by the artist Michele Sambin during his activity with the Tam Teatromusica theater group, founded in 1980 together with Pierangela Allegro and Laurent Dupont. Since 1970s Michele Sambin has been conducting a research across multiple artistic territories – painting, music, cinema, video, performance and theater –, recombining their codes in the idea of probing the possibilities of relationship and conflict between images and sounds. This peculiar interdisciplinary approach is combined with the constant interest in subverting and reinventing the technological tools available on the marketplace. While taking into account the historical-critical contexts and the linguistic and aesthetic changes that have marked the various decades of the Italian and international theatrical practices from the 1980s till today, the analysis attempts to restore the richness of the artist’s experiments, assuming as lines guides the technical and technological inventions that from time to time have forged the conceptual and aesthetic dimensions of Tam Teatromusica’s performances. However, reading the history of this group through the lens of the technological devices used, does not mean considering its artistic production as a deterministic response to technological innovation, it means shifting the emphasis on the interrelation between the technical and expressive possibilities of the tools, the discourses that orient their uses and practices that reinterpret their values, discarding their underlying ideologies.

Il saggio si propone di indagare la modalita in cui corpi e dispositivi entrano in relazione in Aurora (2015) di Alessandro Sciarroni, andando a configurare una soggettivita espansa, tesa tra le materie sceniche e le specifiche qualita fisiche dei performer. Lo spettacolo esplora il goalball , uno sport paraolimpico praticato da ipo e non vedenti. L'abilita ad eseguire una pratica facendo a meno della vista intesse una drammaturgia che poggia sull'ascolto e edulcora lo sguardo in favore degli altri sensi.

Il saggio si propone di ricostruire un ambiente performativo e installativo realizzato dalla collaborazione tra Giacomo Verde e la compagnia Tam Teatromusica "Lupus et Agnus) 1988. L'obiettivo del saggio è quello di portare in luce la complessità di un lavoro rimasto nell'ombra per diversi decenni, insieme a quello di restituire alcuni aspetti dell'estetica di Giacomo Verde in confronto con quelli che hanno caratterizzato la ricerca di Michele Sambin. L'introduzione e l'analisi dello spettacolo sono a cura di Flavia Dalila D'Amico, il glossario è a cura di Michele Sambin.

The essay aims to explore the video production in its militant manifestations, in a period between the 90s and 2000s, a period marked by the spread of digital and Internet technologies. Observing the contemporary video-arts practices that move on the path of civil commitment, means unraveling historical, methodological, terminological and phenomenological issues. The analysis does not offer an exhaustive mapping of the use of video in a militant function, but it takes account of their current configuration and their relationship of continuity / discontinuity with the historical roots (the experiences of the 1960s films and videotapes of the 1970s) starting from a survey of studies and discussions in which terms and operations were negotiated during the periods under review.

Il saggio analizza tre casi studio di collaborazioni tra artisti e aziende ritenuti particolarmente emblematici poiché nella prima metà del Novecento hanno portato all’invenzione di dispositivi sonori e/o luminosi destinati ad un’esecuzione dal vivo e all’istituzione di dipartimenti di ricerca congiunta tra ingegneri e artisti: l’incontro nel 1927 tra il dadaista Raoul Hausmann e l’ingegnere Daniel Broido dell’azienda elettrica AEG di Berlino che conduce al brevetto dell’Optofono, un dispositivo di conversione di luce in suono e viceversa; la collaborazione tra il direttore d’orchestra Modest Altschuler e l’ingegnere Preston S. Millar dell’Electrical Testing Laboratories che porta alla realizzazione del Chromola, un proiettore/tastiera di fasci luminosi; la mostra Nine Evenings: Theatre and Engineering, curata nel 1966 dall’artista Robert Rauschenberg e l’ingegnere della compagnia Bell Telephone Laboratories Billy Klüver, a partire dalla quale nasce il dipartimento E.A.T. (Experiments in Art and Technology), un centro di ricerca e sviluppo ad opera di artisti e ingegneri della Bell Telephone Laboratories. L’obiettivo è quello di portare in luce il ruolo che gli artisti hanno avuto nel corso del Novecento come attori di anticipazione, sperimentazione e promozione di innovazione e sviluppo non solo di artefatti tecnico-culturali, ma anche di pratiche discorsive e metodologie di creazione e condivisione di sapere.

The paper focuses on artistic practices that highlight the degree of transparency generated by the data processing around us. In particular the paper takes into account the project Data-poiesis by the Italian artistic duo The Art is Open Source. The starting point of the project is that Data are constantly extracted from our environment and behaviours and the results of this elaboration are used to make decisions, personalize services and interfaces and to steer the ways in which things happen. This process is not always transparent and accessible. Thus, the main aim of DataPoiesis is to create artistic and technical objects that allow participants to perceive sensually the nature of data. For instance "OBIETTIVO" is a lighting sculpture connected through an artificial intelligence to the data produced by international organizations about the number of people living in conditions of extreme poverty. Whenever a certain figure changes, the sculpture gives off luminous pulsations, allowing the user to have a visual perception of a numerical entity as large as that of world poverty. The artwork has the ability to transfer a material form to otherwise intangible numerical entities. At the same time, it questions the tendency to perceive information as something dominant over the material world, rather than as a cultural and existential condition which dives deep into human perception.

The paper focuses on the relation between body, subject and identity in the field of performing arts (i.e. dance and theatre). The starting point of the reflection is that, despite Identity Studies (Disability Studies, Feminism Studies, Queer Studies etc.) and artistic practices which question the categories of body, health, subjectivity and identity, theater scholars are far from adopting methodological and linguistic instruments that are suitable for the interpretation of the artistic and philosophical contemporary scenario. Today, the scene is populated by actors with strong physical connotations that challenge the adoption of uniform and stable categories in the interpretation of the actor’s work. Is it not reductive to designate the person-actor with the generic term “body”, despite the pluralism and differences present on stage today? What are the most appropriate tools to read, deconstruct and interpret the work of a disabled actor?
To give an answer to these questions and to avoid the situation where my reflection returns the body to disciplines of social discourses, I propose to begin this exploration with an analysis of Chiara Bersani’s artistic production. Chiara Bersani is a performer with “imperfect osteogenesis”, a congenital bone disorder characterized by brittle bones that are prone to fracture. She takes her vulnerable embodiment as a starting point for her performative work and the concept of the “po- litical body”. With this term, Chiara Bersani means the display of a perpetual dynamic between the self and the other, between the individual and society, the singular and the universal, personal responsibility and the political dimension. The assumption of the paper is that the actor’s phenom- enology cannot be grasped by remaining within the limits of the scene and of theater pedagogies. Chiara Bersani’s works can perhaps offer a starting point to rethink the relationship between body and subjectivity in the field of the contemporary theatrical practices, provided that we rethink the latter category within the broader philosophical debate.

Il saggio si propone di indagare la modalità in cui corpi e dispositivi entrano in relazione in Aurora (2015) di Alessandro Sciarroni, andando a configurare una soggettività espansa, tesa tra le materie sceniche e le specifiche qualità fisiche dei performer. Lo spettacolo esplora il goalball, uno sport paraolimpico praticato da ipo e non vedenti. L'abilità ad eseguire una pratica facendo a meno della vista intesse una drammaturgia che poggia sull'ascolto e edulcora lo sguardo in favore degli altri sensi.

This paper highlights the complex construction of the meaning of the freak body operated by photographic practices in the 19th century. One of the first uses of the medium was the documentation of patients as a way to legitimate modern medical discourses on the body. The aim of this study is to stress photography's role in the creation of categories such as " disability, " " deviant, " and " extraordinary ". The analysis focuses on Charles Eisenmann's freak portraits, which can be read as a popularization of the general trend toward the classification of human diversity in the exhibition of disabled bodies.

Questa intervista all'artista Chiara Bersani nasce dall'urgenza di confronto tra le teorie e le ridefinizioni estetiche delle pratiche artistiche.
Chiara Bersani è un' artista italiana attiva nell’ambito delle arti performative. Il suo percorso formativo si svolge prevalentemente nel campo della ricerca teatrale con contaminazioni dalla danza contemporanea e dalla performing art. Affetta da una forma medio-grave di Osteogenesi Imperfetta si interessa al significato politico che un corpo può assumere semplicemente con la propria immagine quando entra in contatto con la società.

The essay highlights the deformation of the television device, made by Ciprì and Maresco. Cinico Tv criticizes the media apparatus, read by the two directors as a danger for the human authenticity. Thus the character's visceral life gives shape to Cinico Tv, and not the devices. The device of CinicoTv works in the middle of its components: shapes that become subjects, themes that become shapes, bodies that are sounds and words, sounds that are characters and matters.

Il seguente saggio intende ripercorrere i significati assunti dalla vulnerabilità ancorata al

corpo del performer dagli anni '70 ad oggi.

L'analisi si restringe al campo delle arti più propriamente performative, (Teatro, Danza,

Performance), individuando l'arco cronologico proposto come il più rappresentativo per la

problematica posta in rilievo. A partire dalla revisione estetica e culturale avviata negli anni '70

infatti, la carne dell'attore/ danzatore è divenuta dispositivo di innumerevoli discorsi tanto da

far scivolare il piano d'attenzione dal personaggio alla persona che lo interpreta. Di pari passo

la vulnerabilità stessa sembra essere passata da un regime di rappresentazione mimetica ad

un regime di presentazione sintomatica. L'analisi parte infatti dall'ipotesi che lo spostamento

del focus dal ruolo alla persona, reinscriva anche i significati prodotti dal corpo, colto non

più come traduttore di vulnerabilità psicologiche del personaggio, ma nella sua superfice,

dove gravita il suo retaggio culturale e la materialità della sua vulnerabilità. Il corpo al centro

della scena diviene attestazione di presenza, entità culturale, conduttore di senso, diventa

esso stesso testo. Oggi, a prendere voce sul palconscenico è l'esperienza diretta di performer

disabili, i quali mettono in atto strategie politiche completamente differenti rispetto a quelle

degli anni '70. Sembrerebbe infatti che i performer traducano la propria malattia seguendo

diverse traiettorie, in alcuni casi infatti la disabilità si traduce sottoforma di resilienza, di

resistenza ad un corpo fragile, in altri funge da canale di avvicinamento con lo spettatore.

L'obbiettivo ultimo del saggio è quello di comprendere dove queste traiettorie conducano.

The paper is the contribute of the conference "Puppetry and Multimedia: A symposium on the influence of multimedia on contemporary puppetry and related forms". The aim of the contribute is understand if the use of technology changes or not the core of the puppet theater.

The following paper would like highlight the complexity of the meaning construction of the disabled body in the field of photography, through the analysis of Charles Eisenmann's Freak Portraits and Joel Peter Witkin's photographs. I propose to take for instance such a different periods, the end of 19th century and nowdays, to stress how the perception of a disabled body depends both on the consideration of disability in a particular historical period and on the narration in which we see him/her. What is interesting, in my opinion, in comparing these different uses of the Photography, is that in both cases the photographs take meaning at the first glance from the materiality of the bodies displayed, but in deepness they involve complex strategies, strongly related on the epistemology of the Photography and on the philosophical issues linked to the body. At the end I would like to argue that the History of the photography language and the history of the reception of the disabled body are strongly linked, and seem to carry on some similar interrogation. The corollary of the early Photography was its scientific ability to capture the facticity, to translate the reality 1 , today instead photography interrogate itself and take into object this supposed indexical property, highlighting its cultural nature. This shift of the focus from a medium property to its cultural production, is almost what it is happening in the Disability studies which have moved the attention from the body to the environment. When in 1978, Fiedler, one of the earliest freak's scholars wrote his seminal work on freak shows the accepted definition of a freak was a "physiologically deviant humans 2 ". However, as debate advanced, Robert Bogdan has proposed the idea that the identity of freak was a social construct, a frame of mind and a set of practices 3. That in synthesis is the shift from the medical model that reads disability as a physical condition of individual bodies and the social model that reads Disability as the effect of an hostile environment. Further, as we will see, Photography had an important position in creating and mediating knowledge upon the disabled body. Freak Portraits The photographs taken by Charles Eisenmann were, cartes de visite, albumen printed 4 , an early form of popular photography emerged in the 1850s. Most of the Eisenmann's subjects were freaks performers, consequently, those photographs are interwoven 1The unique visual appeal of photography results from combining the basically iconic code (resemblance between image and referent) with indexicality. Photography is indexical insofar as the represented object is " imprinted " by light and the chemical (or electronic) process on the image, creating a visual likeness that possesses a degree of accuracy and unattainable in purely iconic signs such as painting, drawing, or sculpture. 2 (Oxford English Dictionary 1976 edition) L. Fiedler, Freaks: miti e immagini dell'io segreto, Garzanti, Milano 1978 3In Freak Show, Robert Bogdan stresses the show's construction of the freak by pointing out that many of the spectacles were counterfeited or created-like fake conjoined twins, wild men, or tattooed freaks. In fact, part of the attraction for the spec tator was in determining whether or not the freaks were "authentic" See: Robert Bodgan, Freak Show. Presenting Human Oddities for Amusement and Pro fit, University Press of Chicago, 1990 p. 24. 4André Adolphe-Eugène Disdéri, former merchant, actor, and , patented his invention, the (visiting card) photograph, in 1854. Albumen prints are a variety of photographic paper print in which a finely divided silver and gold image is dispersed in a matrix of egg white. Such prints constitute by far the largest category of objects in 19th century photographic collections. Albumen prints are characterized by a warm sepia tone that distinguish them from later silver gelatin prints.

The following paper explores the way in which the French choreographer Jerome Bel has exploited the concept of authenticity in the piece Disabled Theater (2012). In this performance he has worked with Theater Hora, a group based in Zurich consisting of professional actors with learning disabilities. The main hypothesis of my reflection is that Jerome Bel does not reformulate the idea of authenticity in a new perspective, rather, he puts into the foreground the thorny tangle of questions that theorists of performance have pondered for years: Is the performer’s presence something ‘authentic’ that exists independently of the performance, or is it an effect of the performance itself? Does it well up from the depths of an interior self, or is it projected onto the body by external ideology, a historical/material situation, or an epistemological framework? What is our consideration of the body onstage? Can perceptions of the disabled body be liberated from binary classifications such as “normal” versus “deviant” ? Can the judgment on the performance be liberated from the classification "professional" versus "amateur" ?
The paper highlights these questions through the philosophical, political, and sociological perspective offered by disability studies and Roland Barthes' reflection upon the analysis of language.

L'urgenza della ricerca nasce dalla constatazione che, mentre gli studi di identità (Disability Studies, Femminism Studies, Queer Studies ecc) e le pratiche artistiche sfidano le rappresentazioni e le concezioni di salute, corpo, identità e soggettività comunemente accettate, la critica teatrale non si sia attrezzata con strumenti metodologici e linguistici adeguati per interpretare, nominare e riconoscere quanto la scena, teatrale e filosofica, va riformulando. La ricerca allora si propone come una strategia di approccio utile a restituire in termini critici le qualità espressive del corpo eccentrico per restare al passo con le ridefinizioni estetiche delle pratiche artistiche. Si tratta di sfuggire ad una prospettiva che relega la differenza come margine o svantaggio per coglierne le potenzialità poetiche e concettuali. Il termine eccentrico infatti, non si delinea in questa sede come un tentativo di rinominare o livellare differenze, piuttosto vuole mettere in evidenza il movimento di fuga da un centro neutralizzato come normatività che definisce lo spazio linguistico e istituzionale di esistenza di un fuori: l'abilità rispetto a cio che viene definito disabilità, la magrezza come modello di salute rispetto a cio che viene definito obesità, la tradizione rispetto al contemporaneo. Al contempo il termine eccentrico vuole rilanciare un modo di guardare il teatro, scuoterne le categorie critiche, verificarne la necessità, spostarne il valore. A dispetto dei mutamenti ontologici ed epistemologici che hanno investito negli ultimi cinquant'anni i concetti di corpo, soggetto e identità, si continua infatti a designare l'attore in scena in quanto corpo, chiamando in causa paradigmi stagni, che ora decretano la morte del soggetto, ora proclamano l'autonomia espressiva del corpo, senza forse tener conto di come effettivamente la scena declini oggi queste categorie. La riformulazione della pratica teatrale a partire dagli anni '60 si e attuata dismettendo il predominio della parola, destituendo il testo drammatico dall'egemonia di codificare l'intero spettacolo, a vantaggio degli altri elementi della scena. La dismissione della centralità del testo ha fatto si che il nucleo drammaturgico e significante dello spettacolo si diramasse perifericamente nell'interazione tra le sue varie componenti, spazio, oggetti, luci, suoni, attori e tecnologie, abbattendo gerarchie tra linguaggi, cose e persone. In un panorama in cui scompare la dimensione narrativa e la caratterizzazione psicologica del personaggio, l'espressione del soggetto e affidata essenzialmente alle posture fisiche e vocali dell'attore. Il soggetto dunque si ritira nel corpo. " Che poi questo corpo – scrive lo storico Marco De Marinis-sia in realtà un corpo mente e circostanza fondamentale chiarita ormai definitivamente da Barba (1993) ". Tuttavia, il fatto che Eugenio Barba ormai vent'anni fa, abbia chiarito che quando parliamo di corpo ci riferiamo ad un corpo-mente, ci autorizza ancora oggi ad estenderne l'uso? O dovremmo verificare e negoziare di volta in volta il significato di questo termine? Quali significati precipitano oggi nell'espressione corpo in scena? Per rispondere a queste domande si e scelto di esaminare la relazione tra corpo identità e soggetto in spettacoli che presentano degli attori che si impongono alla vista per una fisicità forte. Spettacoli molto diversi tra loro che si configurano come una forma di " resistenza " al controllo sui corpi operato da quel terreno che Michel Foucault ha articolato come " biopolitica ". Queste opere portano l'espressione corpo in scena alle estreme conseguenze e in qualche modo pongono in discussione l'adozione di categorie uniformi per l'interpretazione delle pratiche teatrali contemporanee. Quali sono infatti gli strumenti maggiormente idonei a decostruire e interpretare il lavoro di un attore che si attesta in scena principalmente attraverso posture fisiche e vocali e non mediante l'interpretazione di un personaggio? Quali quelli per interpretare il lavoro di un attore eccentrico? Guardando agli studi di teatro piu recenti, la questione del corpo e affrontata per lo piu in rapporto alle tecniche attoriali o allo spazio scenico. Convinti che la fenomenologia dell'attore non possa essere colta restando entro il perimetro della scena e delle pedagogie teatrali, la nostra attenzione si sposta aldilà delle polarità attore-personaggio, agendo in una prospettiva capace di istituire punti di raccordo tra i saperi e le discipline. Nella nostra ipotesi, ad essere mutato piu che lo statuto dell'attore, e il rapporto instaurato con il soggetto rappresentato, a patto che si ripensi pero quest'ultima categoria all'interno del piu esteso dibattito filosofico contemporaneo.

Lost in translation. Le disabilità in scena ricostruisce le storie che nascono dall’incontro tra le disabilità e lo spettacolo dal vivo dalla fine dell’Ottocento a oggi. Un vasto intervallo cronologico in cui, a ben guardare, artisti e artiste con disabilità puntellano solo qualche breve momento, almeno fino ad oggi. Quali ruoli occupano? Cosa ci dicono i periodi di assenza? In un sistema di narrazioni edificato a somiglianza di persone “normativamente abili”, come ci si accorge di ciò che manca? Quali prospettive adottiamo per interpretare e nominare le disabilità in scena? Attraversando queste domande emerge una trama densa di storie, pratiche, istanze poetiche e politiche che trascinano con forza fuori dalla scena sconfinando il dominio dell’etica, del diritto, della politica e dell’economia. Ecco quindi l’urgenza di un confronto diretto con le soggettività raccontate tramite un corpus di interviste in chiusura del libro, non tanto per il timore di disturbare terminologie o arrestarsi di fronte al non conosciuto, quanto piuttosto per la necessità di ascolto, alleanza, complessità.
Con interviste a:
 Chiara Bersani, Aristide Rontini, Tanja Erhart,Claire Cunningham, Giacomo Curti, Giuseppe Comuniello, Camilla Guarino, Alessandro Schiattarella.

My research focuses on the relation between the body and the subject in the field of performing arts (i.e. Dance and theatre). The goal of the research is on the one hand, to disclose how contemporary art practices rethink subjectivity by processing, comparing, and deconstructing its social images. On the other hand, to question the current methodological approach of the performing art theories.
Despite the Identity Studies (Disability Studies, Feminist Studies, Queer Studies ecc) and the artistic practices are questioning the categories of body, subject, genre and race, the theatrical scholars, at least in Europe, are far from the adoption of methodological and linguistic instruments suitable for the interpretation of the artistic and philosophical contemporary scenario.
The reformulation of the theatrical form took place trough decomposition of the whole of a genre into its individual elements. Text, body, lights, object, sounds are each treated as autonomous realities. Once the actor is free from the playing a character, the representation of the subject is entrusted to the body. Consequently, theatrical scholars, from different perspectives, have considered reduced the actor's ability to attest a subject. The main hypothesis of this research is that artistic practices go beyond both stereotypes and available scientific theories, creating further lens for the reading of subjectivity. At the same time these experiences put into question the adoption of uniform and stable categories for the interpretation of the actor's work.

My research focuses on the relation between the body and the subject in the field of performing arts (i.e. Dance and theatre). The goal of the research is on the one hand, to disclose how contemporary art practices rethink subjectivity by processing, comparing, and deconstructing its social images. On the other hand, to question the current methodological approach of the performing art theories.
Despite the Identity Studies (Disability Studies, Feminist Studies, Queer Studies ecc) and the artistic practices are questioning the categories of body, subject, genre and race, the theatrical scholars, at least in Europe, are far from the adoption of methodological and linguistic instruments suitable for the interpretation of the artistic and philosophical contemporary scenario.
The reformulation of the theatrical form took place trough decomposition of the whole of a genre into its individual elements. Text, body, lights, object, sounds are each treated as autonomous realities. Once the actor is free from the playing a character, the representation of the subject is entrusted to the body. Consequently, theatrical scholars, from different perspectives, have considered reduced the actor's ability to attest a subject. The main hypothesis of this research is that artistic practices go beyond both stereotypes and available scientific theories, creating further lens for the reading of subjectivity. At the same time these experiences put into question the adoption of uniform and stable categories for the interpretation of the actor's work.