«We are creating a new show that plays –in keeping with our very own approach to storytelling– on the balance between a sweet and nostalgic form of absurd. Regardless of the simplicity and bareness of the theatrical apparatus, ours is a surrealist universe, somehow fiercely serene, a self-reflecting form of theatre, where actors use the proscenium to engage in a dialogue with the audience, where illusion and tricks are always disclosed at the end, where we laugh and are moved, where the clowns do not play the fools, but rather embody the frailness of losing heroes. »Daniele Finzi Pasca

«We are creating a new show that plays –in keeping with our very own approach to storytelling– on the balance between a sweet and nostalgic form of absurd. Regardless of the simplicity and bareness of the theatrical apparatus, ours is a surrealist universe, somehow fiercely serene, a self-reflecting form of theatre, where actors use the proscenium to engage in a dialogue with the audience, where illusion and tricks are always disclosed at the end, where we laugh and are moved, where the clowns do not play the fools, but rather embody the frailness of losing heroes. »Daniele Finzi Pasca

«We are creating a new show that plays –in keeping with our very own approach to storytelling– on the balance between a sweet and nostalgic form of absurd. Regardless of the simplicity and bareness of the theatrical apparatus, ours is a surrealist universe, somehow fiercely serene, a self-reflecting form of theatre, where actors use the proscenium to engage in a dialogue with the audience, where illusion and tricks are always disclosed at the end, where we laugh and are moved, where the clowns do not play the fools, but rather embody the frailness of losing heroes. »Daniele Finzi Pasca

«We are creating a new show that plays –in keeping with our very own approach to storytelling– on the balance between a sweet and nostalgic form of absurd. Regardless of the simplicity and bareness of the theatrical apparatus, ours is a surrealist universe, somehow fiercely serene, a self-reflecting form of theatre, where actors use the proscenium to engage in a dialogue with the audience, where illusion and tricks are always disclosed at the end, where we laugh and are moved, where the clowns do not play the fools, but rather embody the frailness of losing heroes. »Daniele Finzi Pasca

“Stage gutted, technicians and actors move like cats in the dark as they get ready, slowly immersing themselves in the story. And it will be the story that little by little envelops the spectator, the story of a book given as a present, of a garden to build, of a fight that we all, sooner or later, will have to experience and face. Julie believed that everyone should try to build an inner garden to take shelter, to welcome those whom we love, those who got lost, and those whom we would like to discover. So now we are going to tell this story, with a bench and a garden. And there will be the fragility that each of us defends with shells and armours. The lightness of the memory of her laughter, her booklets full of notes and calculations, her advice and her dreams. The mission of each life is to build an inner garden where we may take shelter, where we may welcome those we love, those who have lost their way, those whom we would like to meet in intimate and reserved surroundings. We have often told stories confined to closed spaces, imagined in the secret box […]

"Aida is a very personal opera in which all the characters are victims of their own actions. Everyone is always ready to cry “war, war…” but nobody thinks and nobody looks for other solutions. We are made not of water, but of gasoline. I hope that in this production of Aida we will succeed in recreating a powerful representation of the realism and madness that is alive in us all." Daniele Finzi Pasca, June 2011

Discover LUZIA, where a waking dream transports you to an imaginary Mexico. Experience a wondrous world that inspires you to explore your senses, enveloped in light and nurtured by rain.

«We are creating a new show that plays –in keeping with our very own approach to storytelling– on the balance between a sweet and nostalgic form of absurd. Regardless of the simplicity and bareness of the theatrical apparatus, ours is a surrealist universe, somehow fiercely serene, a self-reflecting form of theatre, where actors use the proscenium to engage in a dialogue with the audience, where illusion and tricks are always disclosed at the end, where we laugh and are moved, where the clowns do not play the fools, but rather embody the frailness of losing heroes. »Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca

« The language of acrobatics, of physical theatre may easily conquer a territory where it is neither night or day, where light doesn’t touch reality but designs it, invents it or reinvents it. The language of the acrobats titillates our unconscious, making us see inner landscapes that appear truer than reality. Dali’s landscapes are set during night or day? The answer: neither, Dali’s images belong to another dimension, the dimension of dreams.» Daniele Finzi Pasca