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The Project "Regula contra Regulam" |
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 The first part of the project Regula contra Regulam started in November 2003 and was closed in April 2006. Its original objective was the development of practical research into borders between formal exercises and physical action, according to the experiences of different traditions and techniques of physical and vocal training for actors, both at an individual and group level.
 This inquiry was based on a structure of Études based on different ‘Classical’ approaches to training. The Études are structures worked out by Raúl Iaiza under the guidance of Mario Barzaghi (Teatro dell’Albero) and Torgeir Wethal (Odin Teatret) between 1999 and 2005.
The expression 'Regula contra Regulam' can be understood in two ways. The first is paradoxical: '[A] Rule against [The] Rule', that is, a rule that is given in order to fight rules. The second represents an opposing perspective: 'One Rule against Another'.
 Regula contra Regulam evokes the relationship between training and the actor’s dramaturgy, between discipline and creativity, between the need for rules and the need to break them.
As part of the vocal work, in this first section of the project the group focused on choral singing based on the repertoire of Laude of the low Middle Ages, and specifically on the Laudario di Cortona (Cortona 91). At this point, a new period of research began.
Second hypotheses
 The project’s objective is the development of practical research into the relationship between three areas of the actor’s work: training, the actor’s dramaturgy, choral singing.
The project is currently undertaken by a closed group composed of members of Teatro La Madrugada and actors from others groups/contexts.
The group is developing the following lines of research:
 Actor’s training, for which the starting point focuses on fields that we might term 'classical': plastic and rhythm exercises, acrobatics
Choral singing, for which there arefour sources in the repertoire: the Laudario di Cortona (Cortona 91), paraliturgical songs from the Italian tradition, syllabic songs linked to the physical training, and ‘Vallisto’ songs from the north-west regions of Argentina.
Development at the level of the actor’s dramaturgy will be based on the work on songs, in particular on the Laudario di Cortona.
Each session of the closed group is linked to an open session where the same lines of research are approached and tackled with participants from different contexts.
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