A theatre for every person
A theatre for the entire person

“The art of theatre is born from a person’s passion to know, whether he/she be calm or anxious, and depending on the individual. It assumes its entire significance only when it succeeds in gathering and uniting.”

These are words by Jean Vilar, formulated in ’51 at the beginning of his activity as director of the Théâtre National Populaire, and yet they sound as though they were written yesterday. We, too, live in difficult times, corrupted by deceitful logic, on one hand, and by cynical scepticism on the other. The only solution for the conflicts that plague us seems to be the harsh contraposition between opposing factions. The clash between peoples, cultures and generations seems to be the only possible strategy of advancement.

Despite the appearances, though, many people continue to believe in the old saying “there is safety in numbers”. Many think that sharing knowledge and experience can generate the strength needed to solve the many problems that afflict us. The Piccoli Principi are among these people.
The Piccoli Principi are for union:

union between the arts: the work of the Piccoli Principi is fruit of the mixture of literature, music and visual arts, which results in an indissoluble whole

union of techniques: dramaturgy, direction, acting, costumes and sets, lights and sounds, all have equal dignity and function, and are never subjugated to preset hierarchical rules

union between the people who work in the Company: the artists, technicians, administrative staff, and external collaborators are animated by a unique spirit of exploration, sharing its aims, and contributing to create the group spirit necessary for the success of every project

union of the Company with its own public: the Piccoli Principi considers the audience as not made up of 50, 100 or 300 spectators, but of 50, 100, 300 times one spectator; and it is to that single spectator that they address their shows, to the uniqueness of his person in his entirety

union between spectators: for the Piccoli Principi, the theatre is first and foremost an opportunity of encounter between people who share the desire for knowledge and the desire to know one another.

Every Piccoli Principi proposal, from the theatre workshop to the show, from the organisation of events to the updating seminar, is grounded in the aim to gather, in order to unite. The theatre of the Piccoli Principi addresses everyone, adults, children, the elderly, young people, women and men, without any restriction or any distinction between a prose audience and an experimental audience, a music audience and a dance audience.
The Piccoli Principi do not come out with a new piece for the theatre until they have presented it to an audience of “experts”, scholars in the fields of aesthetics, art, and theatre, but also of pedagogy or science.
It is very important to hold the attention of an audience of intellectuals. For the Piccoli Principi, though, the scenic machine finds the confirmation of its communicational effectiveness only by means of the encounter with an inexperienced audience, made up of spectators who, for lack of experience or education, are unfamiliar with the precepts that regulate theatrical language, or are unprepared to grasp the cultural references: quotations, for example, or references to sources.
Artistic creation can not but benefit from the meeting with an audience which, though interested in the representation of the complexity of reality, expects immediacy and clarity of language.

For the Piccoli Principi, the audience – any audience – is both ideally and in reality, an integral part of the process of creation, as well as an essential component in the completion of the show. As Jean Vilar would say, “every audience is the artificer of its own theatre”. In order to obtain “good theatre”, it is therefore necessary to have a “good audience”, not only in the theatre where it is staged, but also and especially in the minds of its authors. Knowing how to recruit a good audience is not enough, you have to know how to think one: the Piccoli Principi “ideal” audience is an intelligent, impassioned and sensitive audience; it is an audience open to the pleasures of learning and far from every form of snobbery; it is interested in the complexity of contemporary reality, but hostile to the difficulties imposed by an elitist and selective use of language.