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Narrare humanum est. Włoski teatr narracji ostatniego trzydziestolecia

(Wydawnictwo Uniwersytetu Jagiellońskiego, 2008) Woźniak, Katarzyna; Uniwersytet Jagielloński

In the 1980’s young artists of Italian theatre begin to work on restoring the communication between the stage and the audience and giving the theatre a new meaning, as its decline be¬comes a point of discussion. In time, their attention goes to story telling, and it is artists them¬selves who become story tellers. We believe that it is not by accident that the revival of narration theatre starts exactly at that time. A post-modernist man, who perceives his own identity as disorganized set of frag¬ments, needs a tool that would allow him to put himself together. That tool, as A. Giddens, S. Hall or P. Ricoeur state, is narration (Ricoeur talks about “narrative identity”). Narration theatre meets this human need by means of travel and laboratory method which teaches self- expression in relation with another person. (The term “teatro di narrazone” is translated into “narration theatre”, rather than “storyteller’s theatre”, to emphasize the relation of narration theatre with the theory of narrative identity.) Apart from this individual dimension, narration theatre has also a group dimension. New narrators - Teatro Laboratorio Settimo or M. Paolini - on one hand become living archives of the history of societies in which they work, and cultures in which they grew up; but on the other hand by active involvement of the audience in the artistic process they contribute to the creation of new communities, based on the consciousness of the same past and connecting all of its members.