Exploring both the ambivalence of the theatrical metaphor of cosmopolitan solidarity and how this metaphoric dimension risks collapsing with the physical proximity of the ‘other’, this chapter investigates the role of participatory theater in challenging the mainstream narrative of migration governmentality while also promoting social coexistence between citizens and newcomers. It focuses on the artistic and social work of Cantieri Meticci – a theater company based and active in Bologna (Italy) involving asylum seekers, refugees, migrants, and Italian citizens – to highlight how they transform the theatrical metaphor of cosmopolitan solidarity into a physical space where citizens and non-citizens can interact and perform both commonality and diversity, perceiving themselves as part of the same symbolic universe. Bringing refugees into being as political agents rather than framing them as political ‘abjects’ requiring discipline or aid, Cantieri Meticci courageously exploits the performative power of theater to intervene in political debates concerning who counts as a citizen of modern Europe. As such, it provides an insight into other methods of being political subjects ‘before and beyond the law’.
The Art of De-Bordering. How the Theater of Cantieri Meticci Challenges the Lines Between Citizens and Non-Citizens
MUSARO', PIERLUIGI
2017
Abstract
Exploring both the ambivalence of the theatrical metaphor of cosmopolitan solidarity and how this metaphoric dimension risks collapsing with the physical proximity of the ‘other’, this chapter investigates the role of participatory theater in challenging the mainstream narrative of migration governmentality while also promoting social coexistence between citizens and newcomers. It focuses on the artistic and social work of Cantieri Meticci – a theater company based and active in Bologna (Italy) involving asylum seekers, refugees, migrants, and Italian citizens – to highlight how they transform the theatrical metaphor of cosmopolitan solidarity into a physical space where citizens and non-citizens can interact and perform both commonality and diversity, perceiving themselves as part of the same symbolic universe. Bringing refugees into being as political agents rather than framing them as political ‘abjects’ requiring discipline or aid, Cantieri Meticci courageously exploits the performative power of theater to intervene in political debates concerning who counts as a citizen of modern Europe. As such, it provides an insight into other methods of being political subjects ‘before and beyond the law’.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
