On this page you can find bits and pieces I found valid and valuable on my journey. The page is not finished and never will be, completely. But maybe it can be useful as a starting point… ;o)
CREATIVITY
"Creativity is admitting to yourself that you make mistakes. Recognizing which ones are worth keeping is an art."
– Scott Adams
CHANCE
"Chance intervenes in the work process. An execution error, due to matter that is, in itself, autonomous and resistant. A kind of creative independence. The material withdraws from the intentions, it can be controlled, but suddenly, through an incident, it breaks free and sets a new direction. It promises our watchful eye to understand how the material can still be tamed:
perhaps by following its suggestions."
— Letizia Quintavalla
"The space in which chance can occur can be significantly narrowed by carefully selecting the participants in the encounter between objects and subjects, the environment, and the context of the improvisation. Creating an appropriate terrain that stimulates the intuitive abilities of a watchful observer's eye, so that this eye can scout out the opportunities that chance offers. Registering and selecting the elements useful for transcription. Recognizing similarities between distant elements, possible associations, and making the connections visible." -Giulio Molnár
ANIMATION (quotes by Giulio Molnár)
“What matters is the skill to transfer one's own energy and the audience's attention onto the animated object. This way, the object gains the freedom to move by itself, not just to be moved and used as needed. The player should strive for this fluidity when encountering an object on stage.
When the player picks up the impulse coming from the object, a kind of collaboration is formed. If the relationship between the object and the player becomes interesting, meaning arises from it. If this meaning serves the subject being treated, it can enrich the story being developed."
OBJECT THEATRE (quotes by Giulio Molnár)
"Aside from their physical properties, objects embody more or less complex meanings: the neutrality of inert matter, the resignation of an accessory, the honest mediocrity of a tool, the arrogance of symbols.
Thus, we expand the testing field. The actor must engage with these meanings. This is, fortunately, an unstable and ambiguous fundamental law: the human being is not an actor, nor even an animator, but a scenic unit of being that enters into a dialectical relationship with objects.
It is not about the question of how to move the object, but what I do together with the object. It is about exploring the limits of possible interaction. One can use objects for what they are, or for what they might mean. The objects, in turn, find in the human a useful mouthpiece that allows the matter to venture beyond the boundaries of the ordinary."
"It is a reciprocal relationship. Objects are perfect research partners: drawing inspiration from the suggestive qualities of an object, its message, its meaning, its history; picking up this trail and seeing where it leads and where it intersects with other meanings.
Between the constraints set by the matter and the solutions it proposes, important clues for developing a scenic score can be found. We can say that the object co-writes the text.
While the common practice of projecting human traits and actions onto a puppet or an object reduces the object to a pleasing illustration, here, in the reversal of this hierarchy, surprising and meaningful effects are achieved."
