Spoleto, Firenze, Bologna, Verona… these are the places where, so far, “Ni una más” has brought me and Daniel. To talk to people in the street about feminicide, to discuss what violence against women is, how it appears to each of us, how it is a part of our lives is not easy. Each person has a life, a perspective, a story that could be connected to this violence, and how could I know what it is before I try to stop and talk to them?
As Daniel and I wander through these beautiful century-old streets, we have been taking in people and places to feel if an encounter is possible, hearing some “No” as answers to “Can I talk to you?”, getting some embarrassed smiles, some fugitive looks, some interrogatory and curious faces, some kisses as we explain in more detail what we are doing and why.
What has been amazing so far is the variety of responses. The stretch of reaction. The possibilities of personal investment. And I feel that all of this, our frustration to refusal included, is an important part of this creative process. If recording voices from the street to then integrate them into a musical composition at the beginning of the show is nothing particularly innovating, the conversations that come before, this revealing of an awareness, of a conscience, of an interest deeper than I thought is rewarding, and to me, necessary to the development of this project. Because it gives me the tools to approach an audience in a theatre. Because it truly makes me realize the immensity, the complexity of being human, and the delicacy it takes to be able to engage a dialogue in this enormity.