Le esperienze di teatro sociale sono sempre più diffuse e coinvolgono persone di diversa età e condizione entro processi volti allo sviluppo di maggiore benessere e di promozione della salute. Individui, gruppi e, più in generale sistemi sociali micro, meso e macro partecipano attivamente alle pratiche teatrali attraverso le quali sperimentano e allenano forme diverse e nuove di cittadinanza attiva, responsabilità sociale, ideazione e attivazione di sistemi locali di welfare informale ma anche tentativi di innovazione dei sistemi istituzionali. Si tratta di forme di creatività e partecipazione che meritano la nostra attenzione per individuare se e come contribuiscano allo sviluppo di un pensiero ergonomico sulla salute. * L'Introduzione è stata ideata e discussa congiuntamente dai due autori, che hanno poi scritto: Alessandro Pontremoli il paragrafo Teatro sociale e benessere delle comunità, Giulia Innocenti Malini tutti gli altri paragrafi.
In the Beginning "Social theatre" might sound like a tautology, since all "theatre" is "social" insofar as it is the art of bodies entering into a space-time relationship. The fact that the expression social theatre has been present in Italy since the end of the 1990s and been given a new meaning (Bernardi, 1998) shows that the word theatre alone was perceived as insufficient to identify that set of participatory performance experiences, which, since the 1970s, had become increasingly widespread not only in practice, but also in national and international studies and awards, fully inscribing social theatre within the broader framework of applied performance ( Thompson and Schechner, 2004; Jackson, 2007). Social theatre is a phenomenon with many roots and different legacies. It is no doubt the child of the cultural revolution, the political and social movements, the artistic and theatrical avant-garde movements that flourished in the 1960s and 1970s (Bernardi, 2004; Schininà, 2004; Valenti, 2004; Garavaglia, 2014). Among the innovations that most impacted on its formulation, there are most certainly social animation, Animazione teatrale 10 and the Grotowskian experience of the workshop. It is in this environment that a number of experiences took shape in the early 1980s, representing the "karst" phase of social theatre, during a period of theatrical restoration which saw the failure of a large number of those revolutionary drives. The ensuing triumph of neoliberalism and advent of globalisation led to the dissociation between art and society. Social issues became social services, political parties and movements collapsed taking with them the participation of citizens in the construction of the public good and in the fight against inequality. It was precisely from the social problems of marginalisation, emigration, addiction, exclusion, illness and discomfort that in the 1990s the demand to put art once again at the core of society emerged, as people began to take responsibility for their own progress, their own realisation and their own care.10 For an explanation of the meaning of Animazione teatrale see the Notes on Translations on p. 7. The expression is used in this sense throughout the paper.
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