chapter
Falso Movimento
Pages 1

Their productions (for example, their reworking of Verdi’s Otello in 1982-3) typify a further shift in Italian experimental theatre (after the mid-1970s development from ‘avantgarde’ to ‘post-avantgarde’ exemplified in the Magazzini Criminali) moving towards what has been described as a new interest in spectacle (nuova spettacolarità) and a greater emphasis on the expressive force of the constitutive elements or media in the moment of performance. Mario Martone, the most prominent member of the group, went on to direct cinema.