May 10, 2009 22:30
After a number of performances and studies, the first work Il teatrino di Rorschach takes form from an initial impulse of non a priori definition of the work that was summarised only at the end by the physical-creative lay-out of the puppet theatre: freeing the body from a score or a logical set-up, creator of the epiphany of human relations and ritual habits, was the beginning of an inverse dramaturgic route where the body, no longer at the service of the directorial, choreographic or thematic-conceptual idea, takes advantage of all of these in order to express better its linguistic nature, with a tendency to make dynamic-skeletal personalities emerge rather than characters.
Following the body that writes, observing its route, accepting the indications, the un-thought, the un-decided: this was the condition that created a human route, our puppet theatre of bones, where the action performed dissolves to leave room for the dance of the emotions, of the invisible, of what remains.
Massimo Pierini e Alessio Targioni
Hermann Rorschach 1884 – 1922.
The Rorschach test is considered ideal to obtain answers by means of ambiguous stimuli.
There are no right or wrong answers, but from the answers given for each blot it is possible to draw up a disposition profile, a personality profile, and to identify any problematic issues in the subject.
[…] At the same time, the very definition of “Test” does not appear quite suitable, since as a psychological test it has very few psychometric properties.