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The Happy Tour created by Massimiliano Loizzi is a story made up of many stories that address the social issues for which the non-profit organizations and associations involved fight, and which with their complexities and hopes tell who we are and become, today more than ever, an opportunity to question ourselves about where we want go and what we want to be. Inclusion and diversity are among the most debated dimensions today, and there is no more widespread mistake than that of thinking that something, as supposedly “normal” is also good and inescapable, but they will not be the only topics covered in the show: racism, reception, gender stereotypes, political correctness, anti-fascism and resistance, the Buonista Tour will also talk about this, starting from the confession of a desperate and leftist man, who could be any of us.
Massimo let’s start from the history of the show and starting from the do-gooder cone, who is the do-gooder today?
The point is to ask yourself. I thought of a feel-good tour because we talk about it in the show and think about why certain words in some contexts have become swear words when they should be embraced by everyone. How did we get to all this? In the show, I end up at the police station taken from the voting booth and I reconstruct what happened backwards, my life and that of the country.
Do you believe that the figure of the do-gooder is version 2.0 of what was once called a Christian Democrat?
In Italy we have this vocation, we are born rebels and we die Christian Democrats. Today the do-gooder is who flaunts, today they want us to believe that the like is participation when it is disclosure. The Christian Democrat satisfied everyone, the do-gooder has become, despite us, negative. Political correctness often hides racism: before women, gays and people of color had no representation and we still haven’t gotten used to it now.
The show starts from the idea of the man of the left: is he a survivor or is he the outpost of a movement that is returning?
In 2001 I was in Genoa and I join those who said that the attempt is as worthy as the success. We wanted to change the world twenty years ago today the current twenty year olds want to change it. If Elon Musk wants to go to Mars there will be a reason. Difficult to define it as an outpost if I think of what Giorgio Gaber already said many years ago. But survivor is unfair to 20-somethings looking for a new language. I don’t know how to answer you and intentionally.
The incipit of the show is in an electoral booth, the protagonist of many films: Carlo Verdone’s grandmother in “Bianco Rosso e Verdone”, they are in “Baaria” by Giuseppe Tornatore: why is it so evocative?
There is also in “Sud” by Salvatores. I go to vote with my children to show that freedom is participation. It’s like entering a confessional, you’re indoors and the confessor is the card, it’s an individual matter which is however part of a collective ritual.
Is the huge crisis that assails you in the cabin political or existential?
Both. Not whether to kill me or commit suicide. I start screaming because the president of the polling station says that one is as good as the other because it’s all a magna magna. I like to tell personal stories that can become universal.
Associationism is present, among others, with Emergency and Arci: are young people attentive to these realities? Because sometimes I have the feeling that realities such as ARCI are losing their sense of community.
The idea studied with Arci Nazionale is of a show to bring politics back into Arci circles, an element of which they have emptied themselves. Today’s twenty-somethings have an even more horizontal idea of volunteering. I am linked to Emergency as to Mediterranea, Rescue. I’ll tell you about an episode that happened with my daughter: she asked me how we change the world so big we who are so small and I answered her one piece at a time. Here for each show we plant three Mangroves in Mozambique. At the end of the tour, I’ll do a show aboard Life Support, an Emergency ship, while waiting for the show, I inflate a dinghy that goes around the hall collecting funds.
Do you agree with those who say that today’s 20-year-olds are the best future after the Second World War to today? On the other hand, they are the ones who have rediscovered the responsible and civil sense of the square.
In a certain sense, yes, but it remains difficult to judge. The generations that fail are a judgment that can be made in retrospect. The twenty-year-olds of ’68 were a good generation, even if with some defects. Today they are fighting to save the planet but with polluting cell phones in their hands. But they have no ideological references, personally I feel closer to the older generations.
At the end of each show do you add a piece to the puzzle of who you are and where do you want to go?
In this show more than in the others; I have always done satire and aim to provide a reflection through laughter: satire must put its finger where it hurts. Discovering that the public invests and is moved, that it is waiting for me at the end to deepen it brings me back to the idea of the seventies that proposed the theater as a place for reflection. This is why I tell my children that dad does a good thing.
What will happen after May 28?
On June 10th I have another date in Milan, more will arrive for the summer. And then there will be the show on board!