CALL a word that concerns us more and more closely, that we read frequently, a word related to work contexts. CALL: it defines a call situation, a request, the search for people who must meet specific requirements. CALLs are more and more numerous, more and more varied, questioning us about how we are, about our past and our present. The requests are detailed, disorienting, unusual, they go from the sphere of technical skills to that of physical and aesthetic qualities, from the search for particular emotional qualities to emotional and sensitive experiences.

CALL: the call we feel we can answer. The call for which we feel adequate_ , the call to which we sometimes respond even though we are not competent_ In the artistic and performing sphere, the world to which we belong, we are faced with CALLS/CALLS from the outside world that put us in play, leading us to reflect on the parts of us to be exposed, on the strongest and the most fragile parts, on what requirements we could publicly share. Parallel to the CALL that travels from the outside towards us, there exists and flows the river of an inner CALL, which would like to be the pulsating figure of our work. But how can these two forms of CALL coincide harmoniously without one being crushed by the other?
Is therefore the CALL an assumption of selection or an act of vocation?

Is RESPONSE a desire to show a set of requirements or, quoting Simon Weil, is waiting for the call basically ‘a search for truth’?

These reflections lead us to observe the change taking place in the world of work, obvious changes in the way workers are selected, effects resulting from the pandemic period, the mee too movement, the emergence of new trade union consciousnesses, declared forms of dissent such as that of the Innocent Camp.

The term Call goes further, goes beyond the boundaries of selection and invades the work space with demands for performative acts of very high performance, speed, efficiency, to be unique and special, to be available, to be willing to … what?
When a performative act is produced the concept of CALL flows along convergent directions, in the choice to accept it we bring into play innumerable nuances of exposure ranging from high performance to very fragile vulnerability. We choose and we are chosen, we call and we are called.

Embracing the concept of multidirectionality, we address our call to the audience, convinced that the success of the performance is also realised through the quality of the observers’ presence. We turn our gaze to the people and call them to feel, watch, experience the chaos of these themes imprinted in our bodies and voices.

We make the trill of the call ring out to the audience, seeking a condition of equality because “each spectator is already an actor of his own