Pippo Delbono has always been telling stories coming from the inner side of his body and soul. His first autobiographical performance, "Il tempo dei assasini", was created in 1987 after the tragic death of Pippo's old partner. Next, he produced "Morire di musica" [1988], "La rabbia. Un omaggio a Pier Paolo Pasolini" [1995] to name just a few, and since 1997 the new cycle realised with the cooperation of the disabled, "Barboni" [presented at the "Malta" in 1998], "Itaca. Il viaggio, la guerra, il volo" [1998], "Il silenzio" [2000], "Urlo" [2004, showed last year at the castle courtyard].

Pippo Delbono's theatre has much of the carnival in which the sacred and the profane, the truth and confabulation, ecstasy and quieting, the rush to nowhere and retention, exist next to each other or together. Pippo Delbono's theatre has much in common too with the reality presented in the films by Federico Fellini - with his fascination of the circus, human strangeness, the filth of everyday life, or dissenters and madmen. It also has many features of Theatre of Death created by Tadeusz Kantor (born 1915, died 1990, considered one of the most outstanding Polish artists of the second half of the twentieth century). Just like Kantor, Pipo Delbono attacks the stage reality, conducting it according to his own invention. His theatre is a constant penetration of one's memory, arousing emotions hidden in the innermost recesses of one's history and one's soul.