Luca Ronconi used to say that every text is representable. Even though
his work is the best demonstration of a theatre without borders, it often
contained an implicit reflection on the limit of the staging and on the
identity of the director. Especially in Pornografia, a spectacle of the 2013
adapted from the novel by W. Gombrowicz, Ronconi questions the director’s gaze, his manipulative and performative power. The analysis of
the discursivity of this show will give us the opportunity to investigate
the aesthetic issues triggered by his way of thinking and practicing the
staging
