THE SPECTATOR'S THEATER

The spectator's theater is an unedited perspective in contemporary theater.
It is characterized by:
1. an intimate and personal experience for the audience;
2. a relation between the personal subjectivity and the myth universal models;
3. a deep emotional experience dedicated to the singular spectator or small groups of audience: an audience direct participation in the event is, for these reason, implied;
4. a space to habit and to lose in;
5. a relation constructed trough the body of the actor and the spectator both: the experience is although strongly sensitive – not only sight and hearing but also sense of smell taste and touch. All the five senses together reacting to create a dramaturgy of senses.
6. an aesthetic and sensuous universe allowed to be explored by the audience.

The Theatre of the Spectator is a theatre that:
1. is a deeply emotional experience for the audience;
2. is not a simple representation but became the personal experience of an event: I don't attend something but I live it;
3. is not dedicated for a shapeless crowd (the audience) but it is dedicate to every singular participant;
4. is able to redefine the role actor/spectator through their direct relation that became the experience focus;
5. considers the audience no more a nineteenth-century voyeuristic spectator, given that, nowadays, the paradigm of our citizen condition is similar to inert powerless spectators;
6. challenges the passivity of the audience that became the actor of the event: he often is the leading actor;
7. makes the theatrical event a unique, personal and irreplicable experience for every singular participant;
8. builds small rituals because it relies on the ritual, sacred and cognitive sense that is fundamental in the theatrical experience also;
9. gets back to a native theatrical practice able to induce people to became citizens of the world;
10. defines the actor's work like a gift of love towards the spectator, whit all the challenge, the mutual bare and the structural risk that these involves;
11. is able to redefine the use of the theatrical space, the performance is no more forward, but it looms me, it is in me and I live in it like in a universe in which I fall;
12. is able to redefine the time of the experience: it starts when the spectator book his participation and it broaden before the end trough the inevitable processing.