After classical music studies, Raul developed concert activities as a soloist specialized in ancient music research in Argentina and Italy. He also developed drama production and teaching activities and conducted a drama research project in this context at the Madrugada Theatre.
Since 1997, he has coordinated work within a research programme on scenic arts, focusing on the practical implementation of common cross-disciplinary principles in the artistic field, with the body and the person-in-action as instruments. As from 2000, he has been involved in several projects from the Odin Teatret in Denmark and has become drama production assistant to Eugenio Barba. He is also the national artistic coordinator for the MUS-E® programme of the International Yehudi Menuhin Foundation in Italy, operated by the MUS-E Italia association.
In 2007, he concentrated on academic research work under the “Regula contra Regulam” project in cooperation with the Grotowski Institute in Poland. He was also invited as a workshop director by the National Scottish Theatre & the Royal Scottish Academy of Music and Drama and worked in South Korea within the framework of the Hooyong Performing Arts Center.
Raul currently conducts practical training workshops at the Teatro Real and the Córdoba University in Argentina and gives lectures on Grotowski’s cultural heritage.
Here is what the Green Voices approach inspired Raul to write:
“Discovering, finding out, meeting again, rediscovering… Meeting one another again and again for the sake of it, its sheer human value… Being able to get together amidst the dispersion of our globalized world… Sharing one’s “national homeland” with very different people, who are nonetheless connected together by “the homelands of transversal values”: passion, in-depth work, resistance to stupidity, dreaming of what is possible.
There is also the artistic adventure involved, synonymous with discovery – discovering what you knew nothing about, what you did not even imagine, what you thought was uninteresting, what you knew without being aware of it, what is hidden within.
I also have specific responsibilities within the MUSE programme from the human and artistic point of view. Children do not merely “understand” with their minds, their perceptions are also situated at sensory level. This is why MUSE artists need to revitalize their expressive and creative experiences. Later on in life children will remember the people they worked with and shared something with, far more than the results of their work.
I am very happy with this crossing of paths in my life: I have been working with the Odin Teatret for the past nine years and now, thanks to Green Voices, the path of MUS-E has crossed the path of the Odin Teatret. No one is a foreigner in that theatre. No one is a foreigner in MUS-E. These two parts of my artistic life can now meet. They might learn something about themselves in this meeting”.