Poetics

Palinodie is a word that comes from Greek and is composed of two locutions that explicate its function: it is made up of the adverb πάλιν(pálin, both "again" and "backward") and the noun ᾠδή(ōdé, "singing").

Palinodie is a rhetorical figure that occurs in our lives when we affirm or perform the opposite of what we had previously expounded or protracted.

"Singing Backwards Again" represents for us the freedom to change one's opinion, the desire to adjust one's thinking to the knowledge we gain and the experiences we have throughout life.

Palinodie is a word that encapsulates the movement of new discovery and the possibility of being wrong , and this, for us, is a vital concept.

That is how we chose our name.

Ours is atheater of care, it is shrewdness to the fragility of human material.

Human frailty can break down, disseminate parts to be preserved of the self that can only be explicated/resolved in caring.

It is not theater therapy. We do not presume to heal anyone, one can only act on oneself: we are not a science, nor a religion.

It is getting out of the medicalization lanes of the concept, to flow into the extended rooms of constant practice.

Care as constant practice does not imply a condition of illness at the outset; it implies the presence of fragility, which must be preserved-through care-so that it does not break down.

The place where we have chosen to create is a place of silence, desired, which gives a very fertile creative condition because it is a space for meditation, concentration, but also seriousness of thought, because in its silence positive visions emerge along with negative observations.

The vision is that of a living theater, in the innate disposition to be among humanity, to the presence of more than one body simultaneously in the space and to the contemplation of the vision of the body, which other is but one of the many expressions of beauty.

Lead the audience within this fascination, even, and regardless, of the appreciation of a performance, which undergoes the currents of experiences, judgments, tastes, proper and different to each of us.

Recognition is sharing the catharsis with the same liberating power among people who in the theatrical act welcome the acceptance of that self that resembles the other selves present, while knowing that, outside the theatrical act, they are not united by other selves, be they age, interests, backgrounds. Being in a listening dimension of presence.

The sense of community is in their interweaving, there where wonder can occur, in the open possibility of mingling, without merging. Joining in suspension, like cold air and hot air, thegenerational exit can happen, the overcoming of the barrier whereby one can realize that one belongs to communities that on paper could not coexist.

The common thread that binds the characters is the willingness to question themselves, to observe lacerations, limy areas, inner quicksand, and to search for words to express this uncertainty: sometimes for family of origin, for love, for the present, for the emptying of the hourglass of time, for fulfillment in work, because they have lost their function, for their bodies, for the fear of feeling pleasure, for the fear of being.

It is starting from their own catabasis to arrive at our own anabasis.
It is the action of transmuting: from extreme descents to bold ascents.