Brevity in experimental Italian theatre is not merely an expressive dimension of scenic creation, but a forma mentis, a conceptual vocation of young companies. The 2000s produced a minor theatre in Italy – first because of the reduced stage size, and second because of the brevity of works such as installation pieces. Moving from the linguistic disintegration of the historical avant-gardes of the twentieth century, this theatre is especially inspired by the visual arts, even though its historical roots remain fragmented and art is still seen in the synthetic language of modern dance and Futurist variety. Short forms actually become a tool for crossing artistic genres and languages. Starting from Deleuze’s and Guattari’s philosophical concept of minor literature, in this article Silvia Mei explores and analyzes work by such Italian contemporary companies as gruppo nanou, Città di Ebla, Anagoor, Opera, ErosAntEros, and Teatro Sotterraneo – all representative of what can be called installation theatre, a new theatrical wave that crosses the boundaries and specificities of artistic language, leading to the deterritorialization of theatre itself, a rethinking of the artistic work as well as its relationship with the audience. Silvia Mei is Adjunct Professor of the History of Theatre Directing and Theatre Iconography at the University of Bologna, having been a Research Fellow at the University of Turin. Her recent publications include ‘La terza avanguardia: ortografie dell’ultima scena italiana’, in Culture Teatrali, No. 14 (2015), and Displace Altofest (Valletta: Malta 2018 Foundation).
From Dialogical Ontology to the Theory of Semiosphere: the Idea of the Dialogue of Cultures in the Philosophical Concepts of M. Buber and Yu. M. Lotman
