Water is an element other than our natural element.

We are always surrounded by air; we know the earth because we put it on our feet, it is our usual ground; you don't come close to fire because it is fascinating but it can be dangerous, and in any case fire is not an element in which you can immerse yourself.

Water, on the other hand, is that different element in which you can immerse yourself.

The surface of the water can also be imagined as a sort of limit, a border.

A fluid, liquid mirror that allows anyone who wants to immerse himself, to break it, to touch it, to cross it and to find himself in another dimension.

And this dimension, precisely because it is not our natural dimension, gives different sensations, takes away part of our skills, modifies our senses, attenuates some and amplifies others; it necessarily puts us in a condition of great attention because in such a different environment nothing can be taken for granted.
 
Water also acts as a filter, it makes you see things from another point of view.

Water can act as a magnifying glass, magnify things that are smaller out of the water or make things seem more beautiful than things that are less so out of the water: like stones.

In our childhoods one of the strongest memories linked to water is the noise and the presence of pebbles, stones: pebble beaches have a particular sound.

The stones are wonderful treasures inside the water, they are shiny, but when you take them out they lose their charm, they lose their lucidity and humidity.
 
To dive into the water you need a will, you need a choice.

For us the choice to enter the water is a research.

I choose to search, I search with all these modifications of my perceptions, I search with greater attention.

The wonder goes hand in hand with amazement and also with fear because going to discover the seabed is wonderful but also frightening.
 
One of the most magical things about the underwater dimension is the role that light plays.

Inside the water the light becomes very powerful both in revealing and in modifying or hiding.
 
There is another aspect of our work that can be associated with "under the water" which is the absence of words : in our works there are words from time to time, but they are very few and there are in a very musical form.
 
In both Untold and Amarbarì the words always came later, when we realized that they actually served to clarify a concept better; or they have proved necessary for the sound they have, or to make us understand an inner reflection; or at times they served to clarify a passage on a dramaturgical level.

Making works of images only, in which there is a path, which are not only abstract visuals, but which have a clear dramaturgical path, is very complex.
 
We tend to get the word only where it actually needs to be present: often this happened in later versions of the show, we debuted without words and then we realized they were needed.
 
This absence of speech puts the viewer in another state because there is no verbal channel: there is the sound channel, which is very important, and the visual channel.

What is told therefore has different times than those of the surface.
 
The dramaturgy for us is very clear but the way of rendering it is not defined: this gives the possibility to everyone in the audience to reconstruct their own story, to also include their own experience. 
 
And this is very nice when it happens, to discover what the visions of each are: sometimes they do not absolutely correspond to the story we tell, but they are all plausible because they develop around our dramaturgical passages.
 
One of the things that interests us a lot is to go and search within ourselves, bring to light the emotional states of the most hidden parts of us.
 
The zoom that the size of the water allows, gives an amplification, a greater capacity for reflection: this happened in Out, a show linked to emotions, to emotional opening and closing.

In Maze, where we didn't want to tell a specific life but, in fact, zooming in on moments that seem small but are very important. 
 
In Untold  in an even clearer, more defined way, we go in search of the mechanisms that prevent us from acting as we would like: here we too are on stage for the first time with our physical presence, with our shadow, with our double, we have little models of ourselves that are the inside of everyday situations.

With the lights we go to search inside, so it is like a progressive zoom that goes deeper and deeper from the outside, up to the more watery areas of us, more intimate. 
 
Water, as an element, often appears in our shows.

The show where the water element is most visible is Maze.

The beginning of the show is an abstract, visual environment that suggests a non-world, which can be a womb, a liquid environment; then during the show the water returns with different shapes, there is rain, the water in a glass which then turns black and submerges the whole city, the water of a swimming pool and a long swim, and before the pool there is 'it is instead an interior immersion, a touching of an intimate water.
 
Basically it can be said that water appears in Maze both as a saving element and as a heavy, dense, extreme, almost too extreme filter, like some moods of life: in fact it is a way of representing the soul.

Touch a surface of water  it produces waves, it is a movement, a change and this is a constant element in the shows we have created so far: change, the relationship between the inside and the outside, the necessary fluidity of things, being penetrated, being pervaded, the grant.

They are recurring myths evidently necessary for us on a thematic level.
 
We know that we are working with archetypes, we have read, we have studied, we are aware.

We are happy to be able to work in this way with archetypes, precisely because we know that the archetype inevitably speaks to everyone: the important thing is to treat them with care.