Vor knapp hundert Jahren wurde hier Luigi Pirandellos „Sechs Personen suchen einen Autor“ aufgeführt. Seit 2011 ist das Teatro Valle von seinen Schauspielern, Technikern, Regisseuren und vielen anderen ehemaligen Mitarbeitern besetzt. Sie kämpfen gegen die Privatisierung des berühmten Theaters in Rom und fordern Maßnahmen gegen den Niedergang der italienischen Kunst- und Kulturszene.
Heute zieht das Teatro Valle Occupato mit einer Performance durch München. Sie führt zwar nicht durch verschiedene Stadtviertel wie in Rom, aber immerhin vom Wiener Platz zum Muffatwerk, um dort WAKE UP! Die Versammlung für ein anderes Europa zu eröffnen. Als Teil dieser Konferenz zeigt das Teatro Valle Occupato eine performative Vermessung des Theaters: Tutto il nostro folle amore – All die verrückte Liebe, die wir haben
Valentina Carello from Teatro Valle Occupato writes:
Are you here? Am I here?
Which is your abandoned desire?
Does communication exist?
“May your love be further blessed with the knowledge of your love”
– Pierpaolo Pasolini, Comizi d’Amore.
Teatro Valle Occupato is playing with languages.
Our goal is to communicate with the instrument we have: the universal language of Theater.
We’re trying to re-explore it in order to re-establish it and to keep it efficient.
‚All the insane love we have‘ wishes to become a necessary observation and an urgent consideration about reality. It’s a multiple performing event, which does not expect to complete nor to summarize all circuits that goes through it.
Inspired by Pierpaolo Pasolini’s Comizi d’Amore, an amazing example of oxymoron between public acts and the intimate sphere, which create “moments” that pose questions, open debates, and activate sharing. In this manner we too are posing questions, which are relevant to today.
The financial crisis that has descended upon us in the past few years is having crushing effects on all personal levels. It has also become a crisis of gender relationships. We are attempting to investigate this field, and to examine various forms of art and communication.
The community crumbles, the individual sways and perceives its own state as a personal failure instead of a common situation. Our intent is to establish an open artistic process and to build an inspirational source, which goes beyond any single creative talent.
As workers of the performing arts we have occupied a historical theater causing distress not only to the system which badly ruled our work and lives in these years, but also to our individual artistic calling. And then we renewed it in a wider context, made of questions, common practices, collective strenght, sharing of knowledges and desires.
The point of this love polyphony will be our urgency to investigate, use and pull out the present, as well as our needs to expose its nerves, its fragilities and its power.
We will circulate cruxes as job, study, future, lost or gained time, reached or chased goals, winning or losing challenges, failures, contrasts with our fathers, love, lust, and the sense of guilty produced by the crisis. We will pose questions to get talkfest, not answers.
It’s gonna be a transient, round and unfinished process, because its own nature, that ceaselessly keep interrogating the form of representation. And we will do that – as Pierpaolo Pasolini taught us – with all the insane love we have.
“Young people face this change in a very different way: not with joyful yells, but with a mixture of seriousness and mistrust, because they know that it’s linked to economical transformations which might strictly re-establish age, fortune and status inequity.
At the end, these grey mornings of tolerance won’t enchant anyone, and nobody see a sex festival in them. With resignation or rage, the old ones wonder: what will happen to the right? While the youngsters, with obstinacy, answer: what will happen to the rights? To our rights?”
– Michel Foucault