Laing’s work is an immersion inside’ the concrete body of a psychic reality’ in which illness’ schizophrenia’ neurosis’ passed to the linguistic filter’ become a language of great clarity and practicability. The author offers us mental pathways as lucid and perceptive as they are constantly overlooking the abyss of madness or anguish.

Crossing a concrete door to enter the drawing of a child.
Inside a simple and childish form drawn on earth we bring the game of adult cruelty; the violence of not believing and lying, of seducing to subdue. This is the metaphor with which we want to stage some dialogues, poems, lumps of speech from the book “Mi Ami?” using our physical and danced vocabulary as the only filter.

To rediscover the tension of the direct relationship with people’s madness, we have chosen to force a delicate balance between form and content, leaning a complex body language, lucid and bizarre on a minimalist aesthetic rich in meaning, that can sometimes come close to a Japanese ‘aiku’. We want to create a show following as main line the contrast, the clash between aesthetics and meaning, the deliberate search for harshness and conflict. We want to confront the audience with the explicit photography of a domestic reality deviated by a deep madness, renouncing any judgement so that for every situation there cannot be a single interpretation.
Our aim is to push the spectator’s imagination towards its greatest complexity; leaving free the possibility of passing through the author’s words to establish what is the real key to interpreting the show.

Reading the texts of the book “Do you love me?” we imagined a somewhat grotesque and ruthless cabaret, that takes the compelling tones of a clash, in which the characters remain anchored to their insecurities in a never-ending degenerate and absurd discussion with the person they love.
Reflecting on these useless and wasted battles but fought with violence until the end, we decided that the ideal stage for this variety would be the home.

So we took the archetype of the house and razed it to the ground; then we dug into our memories until we reconstructed it in its purest version: the drawing of a child.

We chose to draw it on the ground to feed the evidence only in the simplest form and let the imagination of the public develop it in all its grandeur and details.

The only concrete element that we allow ourselves is the entrance door; passage to a protected’ private’ environment to the security of being alone. There the public will wait.