Il teatro come danza di guerra

Marcido Marcidorjs e Famosa Mimosa 
Intervista di Dionigi Mattia Gagliardi
 
The editorial series Sinapsi [synapses] collects texts published in the journal Nodes since its foundation, as well as unpublished content. It delivers different writing forms: essays, interviews, scientific articles and of wide circulation.The intention is to make accessible to readers, on the one hand, contents that are no longer available and, on the other hand, topics and writing never published before.
 
Abstract Vol. 9
 
Theatrical research – and art research in general – cannot be considered innovative just because it shows the audience strange and disturbing images or sensations, exercises in style or particular technicalities.
Art research can be defined as innovative when it inserts itself into and acts upon the core of theories and aesthetic conventions.
At a time when theatre is going through a profound crisis, characterised by blockbuster shows or sterile excesses, Marcido Marcidorjs e Famosa Mimosa represents an anomaly: a bulwark of incisiveness and lightness, violence and delicacy, provocation and impulse for renewal.
In this interview we try to bring out the elements that make up this exception, this irregularity, by asking a few questions to Paolo Oricco and Marco Isidori before the staging of their Una relazione per l'Accademia, in Rome at Numero Cromatico’s studio in 2019.
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