Marco Di Stefano is a director, a poet and a playwright of 28 years. Like many young men of his age, look at Milan with angry eyes and disillusioned.
Appearance Marco in front of the Teatro della Cooperativa he works with and in the meantime I look at the poster: comic texts and civil commitment. At the next house, a vicious expose the flyer in the cultural program dedicated to members: I am surprised and found that, while there is no sign that the "neighbors" offers tickets (slightly) discounted for large events taking place on the other part of the city (among others, the musical "Beauty and the Beast" and "Friends on tour"). When I point out to Mark, he blurts out:
"I think there is a paradox in this city. Probably there is a paradox in this country, but Milan is one of the most striking examples. There is a contradiction, so everyone wants to do culture and in reality very few are interested in applying. I think the problem is promotion. This is the result of the cultural politics of the past ten years, where the event that brings money and image is promoted in every way, while the city's cultural life not normal.
For example, there were few performances related to the Festival Theatre this year that have not sold out, inter alia, also involving suburban reality, very small spaces, spaces created in the last two or three years. So people want to go to the theater, culture wants to eat. Probably less publicized initiatives deserted because they were taught, quite destructive, which must wait to know what is just going to see. "
-" He was taught "to those who are reported?
"Some people say to deal with the theater or to deal with culture, but actually makes the mere entertainment is ruining this country."
- So on the one hand there are people just too curious to go and try new things and the other is that, very generically, we may indicate as "advertising" that turn into something impersonating culture that is not culture?
"Exactly. There is a contributory negligence. In the sense that they're the doctor ordered to watch Friends. On the other hand I think that there is no code of ethics than those who work in the entertainment world. "
- Crolloprospettico, the art collective of actors and dancers you belong to, is born from the need to propose something different from this kind of show?
"Crolloprospettico is a small organization that, since a common reflection on today, trying to do things. There are projects where I sign directing, director of projects for which it is signed by someone else, projects which I and someone else has directed, choreographed, there are projects in which the two theater-dance choreographers sign also is a director ... changing field. "
- E
new ... "Not really, the Fura dels Baus has always worked well. It is probably new in Italy and now I'll explain why we are a category that tends to hate those who do not do things that feel close. It seems that if you do something different from me I will in some way must necessarily hate. I think it is a destructive attitude, I do not think the theater needs this. The theater needs to make people understand where this company is going. Then how is altogether secondary. As artists we tend to be just spectators, the audience that if the problem does not arise, say I like or not like, period. We continually make distinctions when we should instead try to be a collective one, to be more trade association - the actors - and abetting. Or rather, back up those who respect the code of ethics of the theater and to exclude those who do not comply, that is those mentioned earlier.
- You've done a little theater 'everywhere: Studies in Bologna, teaching in Turin, in collaboration with various companies throughout Italy. What differences have you found to Milan?
"The fundamental problem is that Milan is a saturated market. From the point of view of supply
- is probably the city with multiple theaters of operations in Italy - both from the professional point of view. There are seven major drama schools nationally, three of whom are here. Who wants to do is theater in Milan. This leads to two things: one, as I said, is the saturation market, there is a lot more competition. Secondly, there is a low social recognition for those involved in theater. When I go to work in Macerata, but also in Naples and Berlin, are treated very well, not only by the organizers, but just from the people. From other parts of the role of the artist is being recognized. "
- I mean if you say you do in Milan the director ask you "yes, but what is your real job?"
"Yes, exactly, is the point. In Milan you say so. Even if everyone does theater in Milan and if they do not have thought of doing it. But it is precisely this concentration that leads to a repudiation art and the artist's role. "
- And then what is the second theater Marco Di Stefano?
"More than what is the theater to tell you what I think will serve the arts in general. It is the sentimental education of the people. If there is no art there is no sentimental education. Probably in the perfect world the art would have no reason to exist, because people would already be trained. In my opinion the problem is that the people of Milan is more polite, I mean emotionally. Even emotionally is a term a little 'ambiguous: when I do sit on the old tram is a civil issue? Yes, but perhaps is also a personal problem. One of the actors of "Servants", the last show I work as an assistant director with Renato Sarti, is Ahmed Ba, a black boy. In May he was stabbed by skinheads, not when an entire city gets indignant about such a thing is, yes, a civil problem, but you may not have a sentimental education. The fact that a human being indignant if another human being is stabbed for no reason is the very base of civilization. It is always a cultural issue. So yes, the art serves to educate people emotionally. "
