There is something incomparably intimate and fertile in the work with the actor entrusted to me. He must be attentive, confident, and free, for our task is to explore his possibilities to their fullest extent. His growth is accompanied by observation, wonder, and the desire to support; my own growth is projected onto him—or rather, discovered within him—and our shared growth becomes revelation.
This is not the instruction of a pupil, but a complete opening toward another human being, in which the phenomenon of a shared or double birth becomes possible. The actor is reborn—not only as an actor, but as a human being—and with him, I too am reborn.
It may be a clumsy way of expressing it, yet what is achieved is the total acceptance of one human being by another.
Jerzy Grotowski, Toward a Poor Theatre
Now in its third year (2025), INVENTARIO functions as a hub for professional development in the fields of dance and physical theatre in Piedmont. The project offers a rich and articulated programme of activities, partly conceived and promoted by Zerogrammi in collaboration with Lavanderia a Vapore, and partly curated through a regional network of organisations active in the performing arts.
Its aim is to build a structured system that highlights and connects the most significant training and professional opportunities available across the territory.
MISSION
“Shared birth” and the total acceptance of another human being: starting from this statement by Jerzy Grotowski (1965), we reflect on the meaning of education, on the plurality of knowledge, and on the heritage through which we seek to transmit not only techniques and methodologies, but also meanings, contents, and signs.
In a present where the great masters of the twentieth century often seem forgotten, where the memory of our origins is blurred by the confusion of time, and where reference points that once nourished artistic practice risk being lost, gesture, body, and word themselves may cease to function as vehicles of intelligible meaning.
Against this backdrop, our work in education and professional training aspires to transmit practices and forms of knowledge capable of accompanying young dancers in the construction of their own thinking body.A thinking body is a body that gives form to meaning; a body capable of acting with awareness, precision, technique, and immersion. It is a body that crosses space while remaining connected to the present; a body that desires discovery yet practices patience; a body that trains, builds, experiences, stratifies, observes, and searches.
It is a body that descends into the depth of real sensations, that does not settle for first results, but constructs its present by rooting itself in the past—chewing it, reworking it, and questioning it. A body that walks alongside the traces of the great Masters with humility and gratitude, and that, over time, defines and embodies its own artistic identity and, above all, its autonomy of thought.By situating this vision within the cultural and artistic ecosystem of Piedmont, INVENTARIO enters into a synergic dialogue with a rich and diverse network of professionals who, in complementary ways, operate continuously within the performing arts field.
In this way, the project becomes a tool for coordinating and harmonising a fluid calendar of training and professional development activities, aimed at transmitting, sharing, and refining—through dialogue—an ethics of training conceived as a living, layered archive, constantly reactivated and questioned by a body that dances, speaks, and signifies.
INVENTARIO as a catalogue of tools to be refined and placed at the service of artistic languages.
INVENTARIO, from the Latin inventarium, derived from inventus—to find.
INVENTARIO as a space for invention: the spark that precedes creation and continually questions the meaning of the artistic journey.
