It is in this tradition of the impossible that our Foundation has its roots. It is a tradition that goes beyond a First Theatre centred on text and a Second Theatre dedicated to experimentation. It resurfaces in the varied culture of the Third Theatre groups and of many other theatres that operate in geographical, social and artistic peripheries.

Our Foundation is related to the visions, interests and fields of action of women and men who, from the Living Theater in the United States to Grotowski’s Teatr Laboratorium in Europe, from La Candelaria in Latin America to the Red Tent of the Karakumi Theatre in Japan, have grafted in a different way the life of the theatre onto the reality of life. We think of the groups and theatre artists who, since the 1970s, have established themselves as autonomous cells of a new system of production and relationships, demonstrating the transformative function of theatre for those who participate in its processes and for those who benefit from its results.

This ethical-professional heritage is a source of inspiration and a concrete example for anyone who today wants to fight for different modes of actor-spectator relationship in an age hungry for change. What would we be without the awareness of what no longer exists? It helps to know that there is a Foundation that appreciates impossible projects.

For this reason, the Foundation turns to the submerged culture of the “nameless” of theatre. Its purpose is to support fields of action animated by people who are disadvantaged by gender, ethnicity, geography, age, way of thinking and acting inside and outside theatre.