Massimo Marino on Colline Torinesi: Theatre's Turn to Biography

In a piece published by Doppiozero on 23 October 2026, Massimo Marino examines the theatrical scene's turn toward biography. With ideologies collapsed and confidence in political theatre lost, Marino argues that the performing arts have retreated to the root of their own essence: bodies and their stories. Political theatre, in his account, often proves tautological, ritually repeating things already known or better told by other cultural or creative tools. Marino points to crashes, explosions and feelings that surface with joy or effort as new states of thought — more conscious, more complete, total — through short circuits between reason and passion. Around this, he writes, conflicts, wars, expropriations and violence erupt, often incomprehensible or, rather, too comprehensible as arrogant defence of privilege, as shortcuts toward authoritarianism, as attempts to control lives, subjugate them and expel anyone and anything that does not conform. The text is presented as a reflection on why stage art now seeks refuge in the body and its personal histories. The excerpt published in the source material breaks off mid-sentence, with the phrase 'Ma i nostri corpi, le nostre' left incomplete, so the argument's conclusion is not available in the supplied text. Anita Romanello is credited alongside Marino in the byline. No specific productions, venues or companies are named in the available material.