“The Fall Festival is an incredible megaphone”
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With an atypical career and convictions specific to her generation, the former artistic advisor of the Théâtre de l’Inde, in Rome, is preparing her first edition of the Parisian festival for 2023.
How did you come to love the stage?
At the end of my adolescence, in the 1990s, I joined political collectives which met in what are called in Italy “centri sociali”, squats where several generations of artists met, from the most established for younger people. In these informal, self-managed and very fertile places, what fascinates me is “working together”, the practice of a collective and collegial art. Everything got mixed up, my private life, my social and political commitment, and the theater – when I say theater, I mean the performing arts. In Italy, things happen rather on the margins of the institutions. Berlusconi had been in power since 1994. In the squats, the struggle was intense. We helped each other, I accompanied artists, I did programming, production.
I learned a lot. Giorgio Barberio Corsetti [acteur, dramaturge et metteur en scène], who is thirty years older than me, was rehearsing next to my friends who were 20 years old. I have lived with it for a long time Daria Deflorian [comédienne, autrice et metteuse en scène], that we find at the festival this year. It was really beautiful to grow and work together. The theater was a tool of emancipation and, for me, it was also a way of emancipating myself socially. I come from a very popular background, my father is a worker. I grew up in the southern suburbs of Rome, in a very passionate, very curious family, which did not have this cultural anchoring, but which always accompanied me. I was the first to go to university.
You studied theatre. Did you know what you wanted to do?
No. I was a bit lost. I knew I didn’t want to be a director or an actress. I imagined myself as a sociologist or a teacher. It took me a few years to find my place. At the time, in Italy, artistic direction and programming were not as clear functions as they are today. We didn’t teach them, we studied theater history. At one point, I wanted to go study abroad. I’m really from the Erasmus generation, not that of easyJet, the one before, of the night trains. I was thinking of leaving for London, but my teacher told me: “No, you have to go to the faculty of Nanterre. When I arrived, I didn’t speak a word of French. I fell in love with Paris. I stayed for a year, in 2001, but the relationship with Paris and France never broke.
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