Andrea Canevaro, Antonio Genovese, Miriam Traversi (fondatori della rivista)
Stefania Lorenzini, Federica Tarabusi (coordinamento scientifico)
Periodicità: maggio, novembre

Vol. 15, n. 2, 2017

Table of Contents


Alessandro Tolomelli, Francesco Cappa


There is a great myth in the history of Western theatre: it's Eastern theatre. This myth, forged by the work of the men and the women who made the history of Western theatre, is always presented as a myth of the source, also outside theatrical culture. This myth has the power to transform the shapes of a lifetime and can transform the inner lives of subjects. From this specific perspective, exploring the birth of poor theatre by Jerzy Grotowski, we will attempt to illuminate a way of making the Eastern imaginary. What we will describe in this paper is a story of twists and reversals: a paradigmatic story that can change the different ways that the aesthetics and poetics of Western culture choose to profoundly renovate linguistic codes and symbols.

Theatre of the Oppressed is an aesthetics approach aimed to use theatre as a tool to interpret and to transform reality, developed by Brazilian playwright and director Augusto Boal. Basing on this methodology, seven European partners have been working on the European research-action Project TOgether to achieve three main goals. The first regards the development of a curriculum for a qualified trainer of Theatre of the Oppressed. The second task is the experimentation of theatre for the community-based empowerment at local level and the third goal is the production of International Forum-theatre plays. The network is active since 2011, and with the performance of the piece Hotel Europa at the Fringe Festival (Edinburgh, 2016) has finished its first path. Such articulated project included an evaluation process with a qualitative and participatory approach in order to enlighten the connection between the three pillars. In fact, in a pedagogical perspective an educational process have to be address not only to the acknowledgement of the participant, but also to the social transformation, helping the people to become protagonists of their change itself. This article has the aim to resume the evaluation process of TOgether Project and to describe the innovative outcomes of this partnership.

Guido Veronese, Federica Cavazzoni

Theater as a tool of resistance among children and adolescents in Palestine

DOI: 10.14605/EI1521703

Moving from a socio-ecological and systemic theoretical framework, the authors introduce a community-oriented trauma intervention model, in order to prevent and contain traumatic reactions in children exposed to military and political violence. The intervention was developed in the Gaza Strip, through theatre, narrating fairy tales and the expressive arts. The aim was to support the resilience of children living in these areas, increase their wellbeing, support the process of resistance to trauma and increase the level of community participation through active involvement in expressive-experiential activities.

In this paper I discuss two different works with the Theatre of the Oppressed in the West Bank: the one of «Ashtar Theatre» and the one of the «Polarized Model» by Chen Alon. In different ways and with different goals both use this methodology to create a space for dialogue within the colonized Palestinian context. After analyzing the concept of oppression that characterizes the political dimension of the method, I discuss the role that theatre can have in the colonial space. Then I present the work of the Palestinian acting company «Ashtar Theatre». I focus on how Theatre of the Oppressed is used to promote dialogue within the Palestinian community, which is divided by both Israeli occupation and other forms of sociocultural oppression. Finally I discuss some projects which used the «Polarized Model» of Theatre of the Oppressed co-codified by Israeli actor and activist Chen Alon. Here the method is used to create alliances between oppressors and oppressed, namely Israelis and Palestinians. These works offer two interesting examples of how theatre can allow a space where it is possible to create new forms of resistance based upon dialogue.

Paolo Giuffrida, Tatiana Neri, Stefania Ferrera

The time of non-time

DOI: 10.14605/EI1521705

This paper presents a meaningful social theatre experience which came about in 2012 in the Media Valle del Reno area in the Bologna mountains. Many people have been involved in the theatre company «Il Campanile dei Ragazzi» since its inception and today, about 25 people are part of this group. This is an extremely inclusive experience, particularly for those in fragile situations and at a social disadvantage. The project has a precise identity because it represents a powerful vehicle for socialisation and personal growth for those girls and boys who usually have few opportunities to experience sociality and culture. This paper came out of the idea that it could be helpful to know a part of our history – free from the presumption of representing a model – with the aim of communicating the pedagogical processes that we have been through. From the account of this experience it emerges that we need gratuitousness and strong motivations in social work; choosing to do difficult cultural work, such as theatre, allows people to grow, beating loneliness and fears and giving them friendly groups capable of mutuality, solidarity and self-gratification, and it also arouses strong emotions in the audience benefitting from it. Keywords: collective, self-management, solidarity.

Marina Mazzolani

Waiting for the wind. About theather as a disruptive agent

DOI: 10.14605/EI1521706

The theatrical experience that was born in 2001 as an integrated laboratory, between disabled and non-disabled actors, which created the ExtraVagantis Association, a group interested in the themes of diversity, has always had a special focus on the issue of social categories: much of the work has been devoted to exploring how they can spur prejudices, stereotypes, stigmas and, from tools of knowledge to cross the complexity of reality, they can become walls that divide people and cause marginalization. In Minotauri, the last production to which ExtraVagantis participated, in cooperation with the Solidarity Theater Network of the Bologna Metropolitan City, the great heterogeneity of the group of its actors has pointed out that it is important to give value to the differences but also to look for similarities, establishing ties that define new memberships, making useless the use of categories separated from theatrical work, from the exchange between bodies and voices of the very different people involved in collective creation. The theatre community reflects the wider community: in its scenarios the present is represented but above all, the future is experimented.

Italian school actually reflects the multicultural society to which it belongs to. Therefore, it is extremely important to prepare educational paths, developped according to an intercultural approach. In this framework, theatrical laboratory can be one among other useful tools in order to create spaces of participation, through which promote the intercultural dialogue. The present paper specifically describes the experience of Mus-e Roma Onlus, an association which aims - within the project Erasmus Plus Integr-Arte - to promote arts as integration tool in the primary school.

Vito Minoia

Theatre as Education to Otherness

DOI: 10.14605/EI1521708

The paper related to the existential and professional life of the author. Theatrical language (and its different scenic practices) is identified as a privileged instrument of pedagogic and formative interventions. By documenting some of the operative interventions, the written helps to establish a common understanding that integration and inclusion processes as well as enhancement of everybody potentialities are possible and, indeed, very needed. With particular attention to the prisoners, the intention is to activate transversality of competences and educational strategies «for everybody», integrated with a cooperative approach through the autobiographical device. Laboratory experiences to which the text refers have been addressed, in the region of Marche (Italy), to male and female people in prisons, with the belief that jail today is a real «new educational emergency». Although the results are preliminary, there are some elements that allow to identify good practices. Among those, the educational interventions in penal institutions have been very successful.

The article intends to illustrate and discuss the 4 year experience of the theatrical project «The Dance of Words», created and produced by the Turin Cultural Association Onda Teatro in partnership since 2013 with the voluntary organisation Ewivere. Every year the project involves a group of around 20 women from different countries in Asia and Africa, who are attending Italian schools which cooperate with Ewivere. This collaboration involves the creation of a theatrical workshop lasting 10 sessions with the aim of staging a final performance open to the public at the Casa del Teatro ragazzi e Giovani di Torino. Over the years, the project has evolved to address the linguistic and expressive needs of people coming to Italy from their home countries, with the sole purpose of helping people to understand how to integrate into the social and cultural aspects of Italian life. We feel that theatre can offer a means of expressing oneself, drawing on your own resources, and re-affirming your own identity. Furthermore, understanding the Italian language will help not only to meet your first needs of living in Italy, but also to share the central topics surrounding the process of social integration: feelings, culture, history.


Daniele Reggianini, Mascia Papi

Action methods as tools for intercultural integration

DOI: 10.14605/EI1521710

The identity is played between two poles: the individual and the society. The individual identity expression manifests itself as a personality. The social identity expression manifests itself as a culture. The present of man on the stage of history is expressed and divided into a multitude of distinct personalities and different cultures. From the beginning, the birth of cultures and their diffusion has always been accompanied and supported by representation and dramatization forms. The father of Classical Psychodrama, Jacob Levy Moreno, already in the second decay of last century developed several methods and processes to transform and integrate the two different identity dimensions: the subjective and collective one. This study concerns principles, theory and methods through which Moreno pursued his goal, by using the group forces for the benefit of both individual and collective identity. The tools used by Moreno are theatre performance, group dynamics, social action and Sociometry.

Registered at the Tribunal of Trento n. 1155 dated the 19/12/2002. ISSN 2420-8175 Educazione interculturale (Online). Director - Marika Giovannini