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Entering the extremism of infantile games means to avoid adult banalization which –by conceiving childhood from the above– can not help stereotyping each relationship with children. The infantile sight must not be represented by imagining to be able to imitate it, but every well-known feature of the world must be mixed up in order to stick to what childhood claims also for the adult actor: the inventive and pragmatic function of knowledge. The total auricular experiment of "Buchettino" is a "descent" into the sense of hearing. In "Buchettino", the fascination of what is only background increases, according to an excavating operation. The consideration of secondary noises and the words of a person who is speaking, determines a situation which is intimate and comprehensive at the same time. By listening together to living sound checks, the preparatory aspect of each true listening is awakened, far behind the isolated and desolated one of eavesdropping –which is syntonized but not synchronous– of millions of human beings.
The environment prepared for "Buchettino" consists in an enormous bedroom with fifty small beds, under whose sheets spectators lie down to listen to the story told by a narrator. But besides the narrator's words, the whole bedroom is transformed into a resonance chambre of all the events which are narrated, bringing along the acoustic traces of everything which is happening. It is almost dark, and the only available perceptive activity is the one of the ear which, in this way, develops the capability of perceiving the sounds coming from the four walls, from the ceiling and the floor. Besides the recitative modulations, the spectator can perceive noises, music, thuds and acoustic blows. The fact that you find yourself together with strangers, in a situation in which you are listening at something together, determines an infinite anonymous fragment which results in a “single feeling”. Even those who are seriously physically handicapped may participate in the growth and the abandonment in front of the emotional wave which ploughs its way through the inner part of the individual, precisely because “each” person is the focus of it. The differences of each one of us are not suspended or removed, though. Each existence is represented here, to be what it is, from the resonant flood which flows and submerges all kinds of emotion in the lustral bath of a common destiny: childhood. Childhood not meant as an age of life bound to flow, but as that feeling, hearing, testing the word on the limit itself of language, that is, on the threshold of not saying, there where the humans’ word merges and welds with that of the animals, of ogres and dwarfs. Where it is close to the weight of the thing and to the intimacy with a body (any body!), to the weight of each single experience which here let itself to be carried by the narration of a tale.
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