The scenic body is like a wild animal, full of life, able to leap from calm to action instantly.

Matilde

---

The theatre that moves me venerates the ritual of the scene, with living meaning committed to its reality, serious and daring at once. To reach this total theatre, we need a total scenic body, one that can fill space and time beyond the limits of the scene. A body that connects the visible and the invisible and offers that connection to the audience in a way that pierces reason.

Often we encounter, on a stage or in any other setting, people who, though they may gesture a great deal, have an inert, empty expression. In that kind of communication one does not face the risk of being transformed during the act of communicating. Transformative communication must be born from commitment and risk, from surrender to the hollow. Expression, in these cases, is not an end but the result of a deep process.

The main action lies not in the act of expressing, but in imprinting onto the body the information that, later, expresses itself on its own. Impressive expression is generated in the depth of the body and blooms outward as expression. It requires the simultaneous participation of all the body’s sensory systems, as well as full attention and concentration at every level. We cannot force it to grow, only generate the conditions for it to happen. We cannot control it, only guide it in a specific direction.

Our work is to prepare the path along which expression can grow without curtailing its freedom.

What we’ll work on

• The total body: physical, mental and emotional
• Spheres of communication
• The 4 persons of the total scenic body
• Physical and sensory mechanisms of impressive expression
• Transformative communication: commitment and risk as starting point
• The difference between expressive expression and impressive expression

---

upcoming dates