Manifesto of Uncontrollable Co-creation
A manifesto on co-creation, responsivity, and the impossibility of controlling what emerges between two.
Manifesto of Joy as Rigor
A manifesto on joy as rigor, presence, and non-falsification in action.
Manifesto of Love as Embodied Practice
Opening This text does not address love only as an affective relationship, but as a principle that organizes action, gesture, and presence. In this sense, it crosses both human relationships and artistic practice. 1. On Love Love is a spontaneous feeling. Something arises without control: interest, attraction, affinity, desire. This initial movement happens. It is not chosen. But this is not enough. What we feel does not sustain a relationship.
Manifesto of Embodied Psychology
Manifesto of Embodied Psychology It is not what is said. It never was. The voice comes after, organizes, explains, justifies a world that has already taken place in the body. But the body does not confirm. It hesitates in the middle of a sentence. It betrays in the middle of a gesture. It holds back what the word delivers. There is always a remainder. A hand that does not follow.
Manifesto of Living Duration
Manifesto of Living Duration The piece does not begin on stage. It begins in the body of the one who watches. A seated body. A body that breathes, weighs, adjusts, tires. A body that was not invited to disappear. Ignoring this is not rigor. It is a miscalculation. The work is not a sequence of events. It is a trajectory of states. States do not simply appear. They are built in time.
Manifesto of the Archaeology of Bodily Decision
Opening Before being a matter of art, what is at stake here is a stance toward life. We live surrounded by bodies, gestures, actions, reactions, discourses, and movements. In general, we learn to evaluate them by what they show, by form, efficiency, expressiveness, and visible results. We are rarely invited to ask why a body does what it does. Not out of psychological curiosity, nor moral judgment, but out of a more fundamental necessity: to understand that every action is a situated decision, traversed by history, limits, desires, fears, and concrete possibilities.
Manifesto of the Sponge Theatre
On theatrical architecture, construction, and the suspension of the world The word “theatre” designates two distinct things: the act of making theatre and the theatre building. This manifesto explicitly addresses the second. We do not propose a new dramaturgy, nor an acting technique, nor an aesthetic style. We propose a new way of constructing the theatre building and, through it, a new way for theatre to operate in the world.