An essential training tool, the pre-expressive mask prepares the actor for theatrical play, improving body awareness, expressiveness and presence in space. When the face is covered, the body becomes the main expressive tool. Every gesture, every movement is read and interpreted by the audience and becomes fully meaningful to the story. A silent work through which the actor learns to recognize the resistances of his body and to free himself from his own habits, thus becoming a blank page on which to write any story, with or without mask. This in fact invites the actor to seek a profound truth...

“We shape clay into a pot, but it is the emptiness inside that holds whatever we want.” – Lao Tzu – The mask recomposes the dualism between fullness and emptiness. On the front, it appears as a fullness, on the back it is an emptiness. On the front it appears, it shows itself, but its presence depends on what it denies, what it conceals or what determines its transformation: it depends on its cavity, its emptiness. The sculptor carves and models what he has in mind to represent. The mask is thus a creative act of man who, through his film, internal and external, searches...

Masks are archaic and archetypal, ruthless but also poetic. Wearing a mask means becoming what the mask represents and requires a complete availability to allow it to manifest itself and complete the metamorphosis. It is therefore a great challenge and places the actor in a radical confrontation with his own body, until he becomes aware of his own instrument to find a unity between thought, action and communication. This makes it possible to keep alive a universal code, which embraces every time and every place, in a theater of archetypes, in which the audience can find and recognise the deepest...

Any expressive theatrical event is a physical act, which has the body as its essential and indispensable instrument. So it is necessary to work not for, but through the body. An available body, moving in perfect accord between spontaneity and knowledge, between instinct and consciousness, in which to find their own psycho-physical unity, beyond motor, compositional or stylistic habits. In fact, the language of physical actions is universal and capable of creating archetypal relationships found in everyone’s life. Starting with the physical warm-up, the actor’s pre-expressive abilities...

A journey into the world of theatre to learn in a fun way. A serious game through which to test oneself all together. The aim is not to produce a play but to experience a free and safe confrontation with oneself and others. Through the direct physical experience of theatre play, one becomes aware of one’s own body and relates it to space, to others and to what we communicate non-verbally. We thus discover the signals we send to the outside world, activating a literacy of emotions and societal stereotypes through an innovative approach. A path where each person’s creativity and human...