Alexandre von Salzmann was a pioneer of Light as a vehicle to the edge of the invisible and a pathway to Being. Salzmann shied away from the limelight, acting as an hidden engine behind many world-class events and a collaborator of the leading lights of the XX century theatre scene. Praised by Artaud, Bernard Shaw, Gordon Craig, Rilke, Kandinsky, Buber, Nijinsky, Stanislavsky, Claudel, Pitoeff, Jouvet and many others, he was the protagonist in the shadows between the end of the XIX and the first thirty years of the XX centuries, from Georgia to Central Asia to Northern Europe and USA. But it was in Hellerau, at the Dalcroze Institute, that his work both as a lighting system inventor of genius and as a set designer was definitively recognized in whole Europe. Salzmann, convinced that we all can see, but we don’t know how, unless we have true visual experiences, believed in a Light regulated solely by music and, for the Gluck’s “Orpheus and Eurydice” 1912-13 performances, developed a lighting system conceived as a luminous pentagram. Salzmann’s Science of Light, which contains the secret of a lost language for a theatre that goes beyond the five senses, converges with Gurdjieff’s Science of Movement. Peter Brook, a key witness, once revealed me the reasons why. That, I will also share with you.
Storica del teatro, è dottore di ricerca presso le Università di Roma Tre e Paris III/Sorbonne Nouvelle. Ha pubblicato la monografia L’invisibile reso visibile (Aracne, 2013), “Alexandre Salzmann e la scena del XX secolo“ (Carocci, 2015) e saggi su riviste italiane e straniere, quali “Teatro e Storia”, “Revue d’Histoire du Théâtre”, “Bulletin de la Société Paul Claudel”.