Milan is a repository of stories, lives and intersections that are lost in the deafening noise of traffic, in the buzz of the subways, among the enormous avenues that intersect the city. Stories that go untold and die with the light of day. The Teatri Possibili Association in collaboration with the Compagnia Corrado d’Elia, the Cooperativa Minotauro, the Villaggio Barona and the Cassoni Foundation has decided to lend an ear and a stage to all those lives far from the spotlight, on the margins of official stories and which tell of a reality often made up of difficulties, suffering, traumas: «Milan is very vast, it has many neighborhoods where social aggregation is more difficult and therefore even finding a moment of dialogue in which one can talk about one’s difficulties, one’s fragilities is almost impossible», he says Claudia Negrin, director of Teatri Possibili. “This creates worlds in the shadows which then transform into problems of life, of daily relationships, of not overcoming traumas.”
From here the project The stories we (don’t) tellwhich aims to collect the stories of anyone who wants to redeem their listening space, especially those coming from Municipality 4 and Municipality 6 of Milan.
Teatri Possibili has therefore created a special site where anyone who wants can write their own story, anonymously or leaving their name. And not only that: they were also created free branches for those who experience that story as a present problem or difficulty. The stories will then become dramaturgical and theatrical analysis material in the free dramaturgy and text interpretation workshops, held respectively by Tommaso Fermariello and Laura Angelone in the coming months and open to all those who wish to participate.
«They are ways to learn to tell your story, because when you understand where and how your body can tell something, you then put it into practice even when you talk, going to the post office, to the supermarket. It is a new way to experience daily relationships”, concludes Negrin. Two shows are also part of the projectwhich serve as an example of how we can work on stories and how they can become collective catharsis: Bullet Catchwhich was staged last October 25th, uses the trick of illusionism (Bullet Catch is the practice whereby a magician catches a bullet with his hand or teeth) to understand how every day we are the ones who give others the opportunity to shoot us, to hurt us. Circeon stage on Friday 5 November at the Politeatro in Milan, evokes the contradictory figure of the deceiving sorceress, confined to the Greek island of Eea because she is different, dangerous. In the rewriting by Corrado d’Elia and Chiara Salvucci, Circe becomes a paradigm of redemption, of female independence and of the reversal of gender perspectives.
The prices of the shows will be capped to allow everyone access. Furthermore, they are also expected two conferences: November 5th, conducted by a psychologist and psychotherapist Alessia Lanzi“Fragility is in the eye of the beholder: a new perspective for understanding our adolescents” will be held, which will explore the world of adolescence and suggest approaches and possible readings of the fragility and pain of today’s children. November 13th instead, “the new role of adults in the age of complexity” will take place where, in dialogue with the psychologist and psychotherapist Anna Arcari, the parental role in the complex post-pandemic world will be investigated.
