With the 2008 edition of the Spoleto Festival begins an important collaboration with Luca Ronconi and the School of Improvement for Actors from him directed together to Roberta Carlotto to Santa Cristina (Gubbio). In fact, in agreement with the new direction of the Festival, the Santa Cristina Theater Center will present some moments of its work each year as part of the Spoleto Festival programming. For 2008, Luca Ronconi has chosen to work with a group of actors with whom he has shared years of research and training, and to present for the Spoleto Festival audience, not a performance, or an essay/workshop, but rather "open lessons" on Ibsen's dramaturgy.It is therefore intended to offer the unique opportunity to observe the "Ronconi method" in action, that is, the work of interpretation that is carried out from time to time together with the actors, with the intention of showing that process of creation that always remains in the closed rehearsal rooms. Open lectures, which will take place over the course of the afternoon and evening, where spectators will be able to attend to different moments of the work each day, freely choosing their time in observing how Ronconi works with the actors on certain pieces of theatrical texts.As Ronconi observes, "our presence to Spoleto 2008 will not take the form of a performance but will have the Santacristina Association and our way of working, of being in the theater, as its protagonist. For four days we will bring to Spoleto our way of working, from morning to night, of confronting each other, leaving the doors open to show to everyone who wants to see what we do from when we were born. According to the Statute we have given ourselves, our Association has in its institutional tasks to produce shows and to hold classes. But as the glue between one and the other is what I consider our deepest identity: to give the possibility to of actors and to of professional directors, more or less young, to get together for a period of the year to discussing, to reasoning, in a welcoming place, around to a theme that concerns our work, asking, from time to time, questions that can be technical, interpretative, dramaturgical. (...)We will be working on a fascinating topic: the exchanges between literature and theater, how works that are born for the stage decay from the point of view of representability and turn, over time, into literature and vice versa. It is precisely from here that the question arises as to how to relate, from actors and from directors, to this change. We will therefore focus our attention on authors worn down by tradition in regard to whom we often feel the need to distance ourselves both from their established representative canon and from trying to renew to all costs. At first I thought to three or four authors, which I then reduced to Brecht and Ibsen alone, but in the end I decided on Ibsen, which I feel can offer more of a chance to deepen, to verify what has been said so far. (...) Much better, then, to try to see how figures that belong to the world and society of Ibsen´s time - for example, the Nora of ´A Doll´s House´, as the years go by become mythological figures whose ties to real life fade while others are established. I have always wondered whether in an extremely compact dramaturgy such as Ibsen´s each play is not, in fact, another story ´childed´ from the previous one. For example compared to to ´Doll´s House´ with its two endings - Nora leaving, Nora staying - suggesting two different fates, a text like Spectres gives the impression that it was written as an answer to the question: what would have happened if Nora instead of leaving had stayed by her husband´s side as a prisoner of convention?"