Bastiano: What I'm trying to tell you is that we have to meet... you understand... all
together to work... The rest comes as a consequence.
Tommaso: But we are already there. The point is another, that is, what the fuck, is
that here we don't know what to do, what to work on, that's the problem,
what the fuck.
Bastiano: You didn't understand me. I meant...
Emilio: I already said my opinion last time, but there were only four of you. But I
think they understood me, at least. Of course, to be understood sometimes
you have to insult, but at least this way you clarify once and for all.
Cinzia: I wasn't there, I don't know what you said.
Emilio: I mean, I don't feel like repeating the whole scene, also because I'd feel
really bad. It's not that I have it with Electra who wrote the text. That is, in
essence I said that I don't give a shit about doing shows with you, I want to
do theater, which is different.
Mino: It seems... to me... that the problem... is... is... well... a matter of choices. Doing
theatre... is... can be... a lifestyle choice... Because there are four types of
theatre... which are... rough... spontaneous... sacred... and moral. It's a
question of life choice... Look for example at Judith Malina... she, in short...
was... was... a student of Grotowski...
Pinuccio: Sorry, I don't understand the difference between rough and spontaneous.
Mino: I mean, it's implied. I have some notes here that... if you want... I can read to
you…
Bastiano: Wait, wait a moment, I think… maybe... That is, I don't know if I can
explain myself... That is, first of all there should be another problem... that
is, that of availability, of collective commitment... That is, I wonder, how
many of us are willing to guarantee a constant presence?
Tommaso: What does presence mean? Even now we are present. Every time we
are there we are present.
Bastiano: I did not explain myself. I meant the presence to be serious.
Tommaso: I still do not understand.
Elettra (irritated): Maybe Bastiano meant the constant presence at rehearsals.
Bastiano: I mean, no, not quite. I meant presence in the sense of commitment... do
you understand me?
Tommaso: Oh well, I understand, but you don't take into account...
Pinuccio: I did not understand. In your opinion, then, to be present you have to
work? So one doesn't work if he doesn't do something concrete?
Bastiano: Of course, Pinù!
Pinuccio: But it's not true. Not true at all.
Bastiano: I mean, fuck Pinù, if we don't commit ourselves what the hell are we
doing here?
Pinuccio: You don't have to commit to being present, and you don't have to be
present to commit.

Emilio: I repeat my speech: if we're here to get serious, fine, but if we're here to
waste time, I'm not in. I want to do theater, not show.
Cinzia: Sorry Emilio, in what sense?
Emilio: Look, I'll explain it to you with an example: a book can be read, or read. Do
you understand the difference?
Cinzia: I mean, I think I have grasped... I mean, look, it's not clear, huh.
Emilio: I'll explain it to you with another example: one can commit oneself like this
or like this. You understand?
Cinzia: Meaning what...
Bastiano: Sure, what the fuck, that's what I've been saying for an hour!
Tommaso: All right, fine, but then I didn't explain myself: commitment, presence,
everything fine, but about what?
Bastiano: How, about what? About what we do.
Tommaso: Well, what do we do?
Bastiano: But... we are here! We meet, we do, we see all together. That is, we meet,
and something is born from the community experience.
Mino: Because... you know the Living... those were people who... that is, they lived
for the theater... and they lived together, that is, precisely on a community
level...
Emilio: Of course, life in common and mystical conception of the theater.
Elettra: Bullshit. The greatness of the Living was called Julien Beck. And Grotowski,
if one dares to express a doubt, kicks his ass out.
Bastiano: Well, what does this have to do with it?
Elettra: It has to do with it. You won't think by chance that they're talking bullshit
like us. They have killer training, at the Laboratorium.
Bastiano: Well, but, what do you mean by that?
Elettra: Few lies, guys: art is an individual and not a collective fact. It is the directors
who make the theatre.
Tommaso: I mean, I want to say one thing: if we start with ideas like this, it's better
to stop immediately.
Elettra: Do I have to castrate myself to please the community?
Bastiano: But who castrates you, Electra?
Elettra: "Yet we drank a few beers in Venice and Wroclaw"…
She lies down on Emmanuel.
Bastiano: In my opinion, the point is another: that there is no commitment. Now I
ask you again: are you willing to commit yourself?
Tommaso: And here we are again with the commitment! What the fuck, Bastiano,
you've already asked before and I've already answered you: commit to
what?
Bastiano: But wait a minute, for goodness sake and what the fuck! First let's hear if
there is this availability.
Tommaso: For my part... as far as possible... compatibly with all my commitments...

Elettra: In short, if I haven't misunderstood, doing theater comes after another
fifteen or twenty commitments, if there is time and desire left. Hear them,
those inspired by the Living and Grotowski!
Bastiano: Come on, Elettra, let's be realistic: one day we will earn our bread, and
not with the theatre...
Elettra (wrapping Emmanuel's hair around her finger): And you say it to me? It’s
you who want the mystical experience. I do my mystical trips in private.
Emilio: Do you know? I don't think I'll do any more theater with you.
Bastiano: And why?
Emilio: I want to commit myself one hundred percent. Sixty doesn't fit me anymore.
It will suit you, but not me.
Pinuccio: And then you leave.
Emilio: I mean, sorry, I didn't understand: I leave?
Pinuccio: If you don't like it, yes, you leave.
Emilio: No, now you explain to me, I expect you to explain to me why the fuck I
should leave!
Pinuccio: Because you don't like what we like.
Emilio: I mean, but it's crazy stuff, but then you don't understand shit! What did I
speak for, if you didn't even listen to me? I would like to know which of you
listened to me!
Serenella: Come on, Emilio, don't drag it out like this!
Emilio: Oh no, now I want to know. Come on, Serenella, repeat what I just said.
Serenella: Come on...
Emilio: Seen? You can't repeat it! I talk to the wall.
Serenella: Fuck you, Emilio.
Emilio: Now I want to clarify once and for all. Listen carefully: first of all, I claim I
have the right to change my mind, because consistency is a fucking virtue.
Pinuccio: Very good. But you keep your changes to yourself.
Emilio: Listen Pinuccio, at least try not to be a fucking hypocrite. Are you calling me
dictator?
Pinuccio: In practice yes.
Elettra (using Emmanuel's knees as a headrest): It's not that he wants to be a
dictator, it's that he doesn't want to suffer the dictatorship of the majority.
Emilio: And then nobody calls me reactionary! Asshole, perhaps, but not
reactionary. What the fuck.
Nicola: I mean, sorry, I wanted to say something too. That is, it seems to me, that is,
I believe that the problem, right now, is more of content than anything else.
Bastiano: Sorry, what are you meaning for?
Nicola: That is, this is what I wanted to say: that is, it is clear that we will put in a
minimum of effort, as we have always done. Now our problem is to find,
that is, to find, a meeting point, that is, in short, to understand what kind of
theater we want to do. That is, precisely at the level of content.
Tommaso: What the fuck, if I've been asking it for half an hour: commit to what?
And you keep spewing a lot of bullshit!

Nicola: That is, after all it is not the result that counts, but having had a good time
together, that is, this is the important thing.
Elettra: Oh no: I'm interested in the result.
Emilio: But the result comes later.
Elettra: You must have this clear in mind right from the start.
Bastiano: That's not the result, that's the goal.
Elettra: Oh well, the goal. And what is ours?
Nicola: I mean, I think it would be better to do a round of opinions. Who wants to
start?
Emilio: I know very well what I want: something violent and lyrical at the same
time. Like Pasolini.
Elettra: Which Pasolini?
Emilio: Well, if you want, a mix between "Salò" and "The flower of the thousand
and one nights".
Bastiano: Sorry Emilio, what about Pasolini?
Emilio: But no, I was just saying it.
Mino: I don't think so... that is... maybe Pasolini...
Tommaso: I mean, shit, it's easy to say Pasolini!
Emilio: No, I said Pasolini to give an idea! It's not that I want to stage Pasolini!
Nicola: Shit, but it would be formidable to recover Pasolini now. That is, Pasolini is
always Pasolini. I mean, it's an idea.
Bastiano: Yes, but Pasolini brings with him a whole sixties problem...
Emilio: Shit guys, stop! I said it was just an example!
Nicola: I mean, I still haven't heard any other opinions than Emilio's. Who wants to
talk? What do you say, Kellermann?
Emmanuel (collecting his balls under the table): Huh?
Emilio: I'll say again that I'm available. Even just sixty percent. I mean, but I reserve
the right to drop everything if it doesn't satisfy me.
Mino: I would go back to what... was said before... That is, if we want a sacred
theater... let's say... or a moral one... or...
Tommaso: I just need to know what we're going to do.
Bastiano: But… I just don't know what to say, I don't understand you... Nothing, it's
clear that tonight I just can't explain myself, what the fuck... I've already
answered you!
Tommaso: What the fuck, Bastiano, you've done nothing but repeat that we will do,
we will do: what will we do?
Bastiano: I've already said it: we will do what emerges from our collective
experience...
Tommaso: But what will emerge from it?
Bastiano: And what the fuck do I know?!