conversations in ten questions 19 : Pippo Delbono

In this series of interviews we try to get to know the artists of İstanbul Theatre Festival 2020. Our third guest is Pippo Delbono. 

Ayse Draz, Art Unlimited Performing Arts Editor & Mehmet Kerem Ozel, Writer 

[The Turkish translation of this interview is published on art.unlimited] 

Photo: Tiziano Ghidorsi

What is the spirit of theatre in your opinion? How do you define contemporary theatre today?

A Theatre glancing at the present and trying to give different points of view on it. A Nowadays-Theatre. A Theatre of conflicts but a theatre of light, too. Two opposite tensions of our time.

Do you believe in the transformative power of art? How?

Art can change the the toughness of life. Art can bring love where war reigns. Art can bring joy where there is sadness, light where there is darkness. It can transform society.

How do you think that this pandemic which humanity is facing at a global scale today will transform performing arts in the future?

This pandemic is actually hitting anybody regardless of the social, political, economic context. In some ways it creates a form of equality among social classes. This is the only positive aspect we can see. The future will be somehow different. It’s already changing. Performative arts might become more necessary, less esthetic and more lively.

How is the performing arts scene in your country handling/dealing with the challenging conditions posed by the pandemic?

In Italy theaters are closed at present. We, our Company, are trying to step on with our projects as far as we can despite the general situation: in the last few weeks we have been touring in three Countries in Europe with my last work “La gioia” (Joy) but yesterday we were forced to stop the activity until February 2021. I do believe that theatre video streams cannot replace live performances. Ever. We are nevertheless glad to meet the Turkish audience for the first time through “After the Battle” looking forward a live presence at the Istanbul Theatre Festival in the future to really meet your audience.

Are there any artist whom you can describe as "my master", or any person whom you think influenced your art most? And if there is such an artist or person, who?

I do believe that Pina Bausch - I had the privilege to work with - has been a very important presence in my path. The Oriental theatre experience, too. And Bobò: the deaf and dumb little man who had been working with me for about twenty years. And all the people who brought me a vast humanity.

When you are working on a piece, what sources inspire you? Do dreams play a role in your works?

Yes, of course, they do. But I am also inspired by whatever I see, I read, the words, the pictures, the images I meet.

When do you decide to give a title to a work you are working on if it already does not have one?

Working on a new piece it often happens to me to start from the title. It’s the beginning of the path I follow. Then, going through that path, you can also lose that name, you can forget about it and then you can reencounter it at last, again.

How did your meeting with Pina Bausch in 1987 affect your perspective and approach to your artistic creations?

Pina was a great source of freedom. Nothing is stiff during my creative process but in my freedom I keep a strong strictness.

How do you start to create your collage-like plays that blend poetry, literature, dance and cinema?

At the beginning of a new creative process I am open to all possible in-punts which may come from my performers but also from accidental meetings, books, urgencies. Everything looks quite chaotic but then I start to find a track - an order which brings everything together.

Is there anything particular you would like to tell the Istanbul audience before they watch this show online? 

“After the Battle” is a work of mine (which premièred in 2011) which is very much bound to what we were living in Italy at that moment but any audience can always find traces about their own real life. You should watch it without trying to understand it rationally - only trying to feel free before the suggestive aspects of it. It’s a work where we are often among the audience, where the audience can live this continuous proximity to the actors in their space. This video recording of “After the Battle” means to highlight this closeness.