<< contents

Riccardo Vannuccini








Since the end of the 50s in the area of theatre, various experiences at a European and international level begin, that characterise and point out how theatrical practice, rather than the show, is an interesting phenomenon.
It is at this stage that, adopting differing expressive forms such as: happening, performance, stage, workshop, theatre departs from that exacting theatrical space and enters into others: mental asylums, prisons, hospitals, streets, piazzas, the city in general.




   My professional experience in the field of art and stage began in 1978 at the Festival nazionale dell’avanguardia in Formello (Rome), and following various differing experiences, I have worked with many Penal Institutions since 1994. In particular, I have presented workshops, seminars, put on stage shows, photograph exhibitions, art exhibitions beginning with the Roman prison of Rebibbia Femminile, then working in other penetential institutions, among which is Regina Coeli, Civitavecchia N.C. and finally at Rebibbia Reclusione, trying to put the world of prison and theatrical culture into a close and profound social relationship, one meant to “improve” the other and vice versa. The shows were presented both within and outside the various Institutions and the inmates were also often diretly involved in a supervisory capacity, as well as being in charge of maintenance in the case of art exhibitions or theatrical and musical stage productions, and/or in charge of planning photographic exhibitions and educational communication.


For an educational and social theatre: notes on the “Port Royal” 2 project

Theatre as place of tracks, a chart of particular people and places who are in need of a relationship regeneration. But the concept can – and must – be extended to the reality of the city in all its aspects, where the territory has been deprived of a precise urban as well as human identity.
On the one hand the tradition of the predominant western renaissance theatre, otherwise called vision theatre, which privileges a representation intended as autonomous object that is far from the vocation of profound relationship among participants and which favours that relentless dichotomy of stage and audience, of time and space, of whoever acts and whoever watches, and which through repetition, reducing experience to mere consumable goods, takes you hostage and dissolves fully mature relationships.
On the other, theatre intended as group experience which does not need to show itself, rather, the conclusive show, should it alter the experience characteristic of the preparatory work, is absolutely unadvisable.

In social theatre expression, education and interaction mechanisms come to life. In the first case, theatre action gives suitable voice and tools to who generally, owing to a situation of deprivation, is not able to express himself in a condition of communicativeness. Secondly, it becomes a way for the maturing of individual and collective identities. Thirdly, it arouses new actions which unfold in reciprocity and in the sharing of the experience.
The tools are the performing activities and the stage must not be the end onto itself, as in bourgeois and judicial theatre, rather, a pathway. Education needs a territory where education takes place and does not need an idea to which education is directed.



                                Photo> FRANCESCO GALLI