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Collettivo Sephirot

Manifesto

Given that



Theater is dead! Theater remains dead! And we killed it! How could we murderers of all murderers feel right? Nothing more sacred and great in the whole world existed, and now it is bleeding under our knees: who will cleanse us from blood? What water will we use to wash ourselves? What feast of forgiveness, what sacred game will we have to invent?

Semiquote Nietzsche, The Gay Science, p. 125


And that



Homo Ludens will want to transform and recreate this environment and this world according to his needs himself. The exploration and creation of the environment will then coincide because Homo ludens, by creating his territory to be explored, will deal with exploring his own creation.

quote Constant Nieuwenhuys, a leading figure in the Situationists, 1976. Homo Ludens is a book by Johan Huizinga published in 1938. According to this sociological and anthropological vision, play is the foundation of every culture of social organization.

This is what is happening with social games or with video games.

Hence we refuse


Any type of live show that does not entertain the public, in the original sense of looking elsewhere, in the opposite direction, diverting, distracting the soul from cares and troublesome thoughts.

Any type of live show that does not provide an opportunity for audience interaction.

Every type of live show that imagines the canonical space of the scene as different from its surroundings.

The figure of the director in his conception of role present in the creative moment but absent in the moment of execution.

And we propose


Game as a substitute form of Theater. We distinguish the Game in ludus, its Apollonian, regulated, organized form that does not necessarily express itself in competition; and the iocus, the Dionysian impulse, the indispensable engine of voluntariness, primary freedom and uncontrolled joy 1.

The activity to be: 2

  • Free. To which the public cannot be forced without the Game immediately losing its nature of attractive and joyful fun;

  • Separated. Limited within specific time and space limits set in advance;

  • Uncertain. The performance of which cannot be determined nor the result acquired previously, being obligatorily left to the cooperation of actors and public, in a different form but in any case collective;

  • Unproductive. That is, it does not create goods or wealth, nor any other new element; except for a change of ownership of the soul within the circle of those who participate.

  • Adjusted. Subject to conventions which suspend ordinary laws and temporarily introduce new legislation which is the only one that counts.

  • Fictitional. Accompanied by the specific awareness of a different reality or a total unreality towards normal life.

(1) Luca Giuliano, The theater of the mind, p. 29, Guerini e Associati ed.
(2) The formal definition of the characteristics of the game is a concept developed by Caillois, 1958, p. 26

Alessandro Anglani

FREELANCER. Digital Services & Performance. Expert in GDR and Gamification, Director, Visual Artist, Actor, Web Programmer, Social Media Manager and Crowdfunding Advisor.
alessandro.anglani92@gmail.com