On September 24, 1978, I started a public introspective journey of “self portraiture/self-discovery at the Politecnico Theatre in Rome. It was on that day that I started my work as a theater writer. Ten years earlier, to be exact in April 1968, I had let my beard grow long and thick and since my hair was also long, I had a typical late 1960’s look which immediately became associated with the idea of a rebel and political activist in the 1968 protest movement.In the years following this time,like most people of my generation, I lived moments of deep crisis so I started searching in the meanderings of my unconscious mind the reason for this widespread unrest, which in many of us turned into madness or the insanity and conflict of acceptance and non acceptance.  This way of reasoning during the 1968 protests also ended with the movement. Thecultural revolution didn’t create children and the youth were not able to dream. Whether they were awake or asleep, they mistook reality for a dream and not being able to sleep soundly for having abandoned reality, they mistook their dreams for reality. Fear of thepresent reality caused them to attack it without actually refusing it and sleepless, they were afraid of dreams and denied them without understanding them” (Massimo Fagioli - "Le notti dell'isteria")


I have added these quotes because these words thoroughly express my state of mind which ten years after the 1968 movement induced me to start this theatrical journey of self-discovery during which I cut off my beard. After having browsed through ten year old diaries, narrated dreams and castles built of cards, it became the only theatre performance together with my awareness of failure which allowed me to express the possibility of a human re-birth as a separation from a past reality.


"Risotto" is the consequence and the follow up of the discussion which started with my own personal journey. It is a discussion which is structured on two different levels. On the one hand, there is the idea of theatre and dramatic art which openly stages real and concrete actions; the cutting of the beard and in the case of “Risotto” the cooking, which highlights the uniqueness and the spontaneity of the theatrical expression.The show begins and ends in a space of an evening. It is in real time.It is a piece of a life spent with the audience and the actors and in this way, theatre is more dreamlike than film. On the other hand, the apparent minimalism of the plot and the proposal of the text is to suggest the possibility of the use of denial as an instrument of change and of separation from the past. The in-acceptance of identity, diffused through the act of cooking,  obsessively repetitive, sets both protagonists free and gives Risotto back its reality and its nobility as an exquisite dish. 


SINCE 1978