A wood. A garden. An out-of-use factory. An ancient villa. An archaeological park. An abandoned station. The port of the old city: for Xenia, saying “site-specific” means, above all, listening to places, tracing their voices, understanding their secret life, the many souls, identity layered over the course of time, the narrative palimpsest. It is doing theatre as a privileged mode of knowledge and of revealing.
A mode of performing site-specific action, that acts on the space involved and on the artistic work, simultaneously.
Here, the deep-down reason for the name Xenia is revealed: guest of a specific site. At the same time, the artistic moment welcomes space, transforms it, arranges it in relation to the stage and the audience –witnesses to an event by its very nature unrepeatable.
Site-specific thus becomes an extraordinary opportunity – as shown by the now well-established experience of Astràgali Teatro – to capitalize on natural, archaeological, and architectural assets, “rereading” them in new keys through artistic experience.
The audience is called upon to bear witness to the action of theatre, and the beauty of the place.
Each show is unique.
This artistic and experiential process lends itself to being in a real dynamic of eco-sustainability, that permits the rarefaction of the theatrical elements and, most of the time, a relationship with natural light. It is an exceptional way of knowing and recounting places and, as such, is at the service of their use and enjoyment for tourism purposes as well. In fact, the world has increasingly seen visitors need to relate to and be in contact with the nature of the territories they pass through, with their history, and with their tradition.
It is a need that the site-specific intervention upholds and launches with an idea of taking care of and safeguarding, of learning about and enjoying, the beauty and specific features of the territory.
Women who resist the violence of the gods.
Ballad of the uncertain sight of animated bodies
The sounds, words, and drums of Romani Culture.
La Regina dei banditi
The life of Phoolan Devi, between legend and reality
La camera di sangue
La stanza del tramonto
Notes on the ordinary life of a mammal
A window onto the irrational, onto an ancient world of authentic expressive liberty, of Dionysian possession.
In a space without volume, the flat wall closes from sight the ritual meat that explodes and rebels
For Xenia, saying “site-specific” means, above all, listening to places.
There is an old Italian saying that like chickens coming home to roost, all knots are snagged by the comb: knots to be unravelled, that keep entire generations.