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The Margin

Pippo Delbono has been trying to adapt his direction role to the reality of handicap.  Instead of finding ways to make 'unfitting' people fit in some ways, he changes his approach and rethinks his own role and methods. He goes on stage, he directs in live performances. He works on making the handicap visible, on showing how it doesn't have to be fascinating, fetishised. It just is. His work aims to de-stigmatise and unravel the “mystery” that 'normality' has put around what makes it feel uncomfortable, concerning its own non-ability to address every need of its components (people).

Pipo works with poetry and beauty of moments, how the simple actually is huge and revolutionary. “For me theater is an act of love, it is not there to shock” (Mulholland, 2010). This impact the quality of the performance, Here, I talk about the fact that he doesnt seek perfection in performance and shape. Dance because you are not a dancer and that is exactly the message that needs to be heard. He questions what we are looking for when we go to the theatre, why do we always want to watch perfect, mastered pieces when actually they is, not necessarily more because I see values horizontally and not vertically, but different things to say, using the dullness of non professionals. How to use the profane wisdom (Polyvalence, 2016) and use it in the interest of the people “who know”, the authorities.

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References

APOLLO UNDICI (2019), Pipo Delbono à Paris (website). Available < http://www.apolloundici.it/PiccoloApollo/RaccontiDalVero/Locandine/IlGrido.html > Accessed 13/11/20

MULHOLLLAND, TARA (2010). Questions for Pippo Delbono (Interview). Available https://artsbeat.blogs.nytimes.com/2010/02/04/questions-for-pippo-delbono/ Accessed 6/11/20

POLYVALENCE, TAN (2016). Available < http://tanpolyvalence.com/en/ > Accessed 6/11/20

RADICI PRESS (2019) Presenta Il Grido (website). Available < https://www.radici-press.net/pippo-delbono-a-paris/ > Accessed 13/11/20

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References :

APOLLO UNDICI (2019), Pipo Delbono à Paris (website). Available < http://www.apolloundici.it/PiccoloApollo/RaccontiDalVero/Locandine/IlGrido.html > Accessed 13/11/20

MULHOLLLAND, TARA (2010). Questions for Pippo Delbono (Interview). Available https://artsbeat.blogs.nytimes.com/2010/02/04/questions-for-pippo-delbono/ Accessed 6/11/20

POLYVALENCE, TAN (2016). Available < http://tanpolyvalence.com/en/ > Accessed 6/11/20

RADICI PRESS (2019) Presenta Il Grido (website). Available < https://www.radici-press.net/pippo-delbono-a-paris/ > Accessed 13/11/20 

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I want to make people speak up. I want to give a space to carry up unheard voice. Question anything that seems trivial, taken for granted. How these rules put people on the side.

MULHOLLLAND, TARA, (2010). Questions for Pippo Delbono (Interview). Available https://artsbeat.blogs.nytimes.com/2010/02/04/questions-for-pippo-delbono/

[ys-co-blog]

The Margin

Pippo Delbono has been trying to adapt his direction role to the reality of handicap.  Instead of finding ways to make 'unfitting' people fit in some ways, he changes his approach and rethinks his own role and methods. He goes on stage, he directs in live performances. He works on making the handicap visible, on showing how it doesn't have to be fascinating, fetishised. It just is. His work aims to de-stigmatise and unravel the “mystery” that 'normality' has put around what makes it feel uncomfortable, concerning its own non-ability to address every need of its components (people).

Pipo works with poetry and beauty of moments, how the simple actually is huge and revolutionary. “For me theater is an act of love, it is not there to shock” (Mulholland, 2010). This impact the quality of the performance, Here, I talk about the fact that he doesnt seek perfection in performance and shape. Dance because you are not a dancer and that is exactly the message that needs to be heard. He questions what we are looking for when we go to the theatre, why do we always want to watch perfect, mastered pieces when actually they is, not necessarily more because I see values horizontally and not vertically, but different things to say, using the dullness of non professionals. How to use the profane wisdom (Polyvalence, 2016) and use it in the interest of the people “who know”, the authorities.

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A monologue from Barboni