Francesco’s journey with the Theatre in PALM project

At the end of the Theatre in PALM project, E35 Foundation meets again Francesco Garuti, a young artist from Reggio Emilia who, since the beginning of the project, has been involved in various activities, including artistic residencies, international mobilities and performances.

The project was launched after a rather complex period in the artistic world. How did you experience this time, and how did you come across the Theatre in Palm project?

My graduation from the Theatre Academy in December 2019 coincided with the beginning of the pandemic—a period that forced me to scale back my desire to do and create. This pause, however, gave me the opportunity to dive deeper into my practice of sculpture, a discipline that is still central to my artistic journey, and is intertwined with theatre and my past studies in agronomy.
After this first complex but rich of new discoveries and perspectives period, I came across the Theatre in Palm call almost by chance. Marco Maccieri from MaMiMò had shared it on Facebook, and while I wasn’t initially sure what to expect, I decided to jump in and fill out the application. Only later did I realised that this project was a visionary initiative, capable of opening me up to new artistic worlds and different creative energies.

The project is characterised by its peculiar hybrid form, blending in-presence and remote experiences. How did you find this approach, and what are your thoughts on this choice?

The first workshop I attended took place in Reggio Emilia. We were five Italian artists connected on Zoom with two other groups of five artists each from Spain and Sweden. The theme of the work was Antigone, and it was during this first session that I truly grasped the essence of the Theatre in Palm project—people with completely different cultural and artistic backgrounds were brought together to explore a common theme, each through their own artistic language. The screen became more than just a means of communication: it became a mirror capable of revealing unexpected points of view, generating an overwhelming and enriching exchange.

The final performance, realised online, gave me a unique feeling of being “on stage”, something I had never experienced before. The experience of performing in real-time with someone thousands of kilometres away was not only exiting and enriching, but it also reaffirmed the theatre’s power as a space for relationship and exchange. Thanks to the second call, I had the chance to go to Lisbon for the JA Fest at the Teatro do Bairro. Here, the virtual experience of Reggio Emilia acquired a new three-dimensionality: I met in person young artists from all over Europe, including some I had only previously seen on a screen. We attended performances together, participated in workshops, and shared moments of artistic growth.

Was there a workshop or experience that particularly impacted your artistic growth?

I carry in my heart, in particular, the workshop led by Maiju from Finland, which deepened my understanding of figure theatre, a way of expressing myself that I feel is deeply mine and that I will never abandon. A key aspect of this experience was the opportunity to get to know others through practical work, breaking down language barriers through matter and action.

What are the most important insights you gained from your involvement with Theatre in Palm?

One of the greatest lessons of Theatre in Palm has been the realization of how the body itself can be a tool of knowledge and an indispensable medium in collective artistic practice. Meeting in person the people I had only known through screens amplified this awareness, making me feel part of a living community. After each experience with Theatre in Palm, I perceived a concrete change in my way of thinking and seeing the world—a greater ability to process reality without judgment and to creatively transform it.

Did your involvement in Theatre in Palm influence your career, and in what ways has your artistic path evolved since the project’s conclusion?

In May 2024, I was invited by E35 Foundation and Theatre in Palm to open an exhibition within the European Photography Festival 2024 with a performance of my own. This was a precious opportunity to give something of my own back to the project, nourishing the performance with all the experiences I had lived up to that moment. For the occasion, I chose to stage a monologue I had written, in which a personified oak tree addresses the audience—humanity itself—reflecting on crucial moments in the history of life on Earth. The monologue, with its brilliant yet irreverent style, invites the audience to think critically about human actions towards trees, emphasizing how these interactions have shaped our reality. This performance is part of a broader project of mine called Alberi Comuni (Common Trees), which aims to bring together my three souls and backgrounds: sculpture, theatre and botany.

Tell us more about your project—what does it aim to communicate, and how it combines your three vocations?

Alberi Comuni (Common Trees) is a project that aims to realise a public artwork by transforming and giving new life to tree trunks felled due to structural issues caused by disease or extreme weather. It’s not simply about creating sculptures—it’s about involving the community through a series of side events. We can think of gatherings among citizens, schools and associations, as well as botanical and poetic walks to foster a deeper bond between people and nature. A central aspect is a theatrical performance written specifically for the project, and staged on the occasion of its inauguration. Alberi Comuni also aims to raise awareness of tree felling practices, especially in urban settings. While acknowledging that tree removal may be necessary in rare cases, the project encourages exploring alternative solutions to protect our green heritage, promoting a shift in perspective to restore the value of these living beings through a blend of scientific and cultural approaches.