Many have, in the past years, referred to the project of the Arboreto – Teatro Dimora as “good practice”, as an important and necessary experience for the development of the performing arts culture in Italy. Nevertheless, we are certain that the Arboreto is de facto still far from the centre of our national theatre.
The Arboreto is the evidence of a provincial, yet not parochial, project: born in the outskirts of major cities, of theatre centres, of the traditional (and powerful) centralized networks of the theatrical profession.
Up to now, the fact of being peripheral has actually fostered the realization of a peculiar project that has (also) been useful to the national theatre organism.
Over recent years some of the most innovative and interesting artistic projects of the national theatrical panorama have come out of the Italian provinces. If this is true, then we should try and understand why, and deeply reflect on the specific conditions, and more in general, on the environment that can support the creation of original production plans than can contribute to the overall quality and strength of the central theatrical system.
One of the possible answers is that, thanks to the motives and merits of this periphery, we are more and more evolving from a centralized system towards a network that necessarily crosses the national boundaries.
The Arboreto has grown by investing on this distinctive feature, being able to take new turns, to embark on new pathways, to build bridges between itself and other peripheral realities; between experiences that are similar to our own and those production and promotion centres of the Italian theatre that could feel the need to renew themselves through our marginality and our unifying projects.
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