For this very own ‘teatro dell’ascolto’ – not in wood, but on paper and above all, in sound – the structure of ‘Prometeo’ and the idea of Camillo’s ‘Teatro della Memoria’, set the tone, as it were, as did the Prometheus trilogy (which has not survived complete) and the town plan of La Serenissima. The search through this theatre is intermingled with the Venetian labyrinth: it has become a mosaic of proprietary texts that have accompanied my own activities as a performing musician for the last seventeen years, interspersed with words of others – words which turn out to be important for my psyche.
Seven concert programmes form the gallery of pillars of the theatre – processed in seven mandalas, inspired by the mandalas that the psychologist Carl Gustav Jung exchanged with the physicist Wolfgang Pauli in one of the most fascinating correspondences of the twentieth century. Furthermore, James Dillon’s contemporary Western musical settings of the ‘five elements’ may also refer to the Orient (was Venice not the crossroads between East and West for centuries?).
And, as befits a dreamer, I do not limit myself to one language or colour. This theatre also becomes decorated and supported by inspiring manuscripts by various composers and by symbolic images.