Beyond the scenic outcome, of what is now defined, in Italy, “contemporary theater”, the results acquired from it have created a “cage” from which it seems difficult to get out. In fact, they are shows from the last century. Each show, without going into the merits in any way, is a concentrate of fragments that alternate with the text. Laments supported by music, in which the eternal cultured quotations are inserted: from De Berardinis to Wilson, passing through Grotowski and Kantor; from Artaud to Pasolini, from Euripide to Seneca, from Cechov to Ibsen; where Shakespeare, Pirandello and so on are never missing. The list could go on and on. All seasoned with plays of light which, in an attempt to replace the dramaturgical structure with “effect”, only go in a “desperate” search for a new scenic writing. We must take note that the theater of the last century, the 1900s, has had its time. It’s at the end of the line. Those giants of the past still roam the stage nailing the new generations. In the past “the first actor”, reached the age threshold in which he could no longer play the leading role, “passed the witness”, “accepted” that the theater “should” continue after him. Eduardo Scarpetta said: “I will leave the stage before the audience leaves me”. Not giving to new generations the chance to take their place is unacceptable. Theater is by its nature in evolution.

Eduardo De Filippo said: …”the theater goes hand in hand with life. Life is the great teacher of the theatre. Why do we still use Shakespeare and Molière today to find a parallel with today’s life? We must have the courage to tell our own story, to show ourselves for what we are”…

Theater is the story of those who traced it. It is the story of men who confronted each other and defined the history of their time. It is very important to have points of reference with the past, measure yourself against it and return to it whenever you find yourself in a new, difficult situation. The “dialogue” with the past helps comprehension. We must love the “Parent”, but we also must be able to become independent. Finding our own way with the awareness of our own experiences and without illusions. Like Majakovskij was looking for the man of the future, so Mejercol’d, a pupil of Stanislavskij, was looking for the actor of the future.