The other day, a national discussion broke out in Italy about educating middle schoolers about their bodies, hearts, and minds. Although it was briefly suggested that these classes be restricted, the proposal faced powerful opposition from both parents and young people, and the country ultimately decided to keep things as they are. Observing these events unfold really underlined for me how deeply talking things out is rooted in Italian culture.
I feel this aspect of Italian culture most keenly when I participate in the stage production Symposium each year. Based on the ancient Greek dialogues, the play features poets, politicians, philosophers, and others discussing the question, “What is love?” I’m in charge of the music. Although the content of the play is by no means direct, it does give young people an opportunity to confront their thoughts and feelings, serving as a kind of indirect psychological education.
The play unfolds as a continuous discussion on the theme of eros, or love. The characters each speak about love from their own perspectives, causing the audience to naturally start thinking about what love personally means for them. While the theme is a philosophical one, the production maintains a warm atmosphere infused with humor and music, which brings many students to watch each year.
Amazingly, the play is performed in the auditorium of a school run by Catholic nuns. I always feel such a deep respect for these sisters who, despite their religious background, confront questions about young people's bodies, hearts, and minds head-on and provide a space for young people to think about their issues through the medium of theater. It’s as if faith, education, and art are quietly coming together for the sake of the next generation.
The Q&A they hold with the high schoolers after the play is absolutely wonderful.
“Why did the characters speak about love the way they did?”
“How should we handle our own feelings?”
The students toss simple, honest questions like these at the stage one after another. This moment, when adults and young people can discuss these topics on the same level, becomes an unforgettable opportunity for rich dialogue among both the performers and the audience.
It feels to me as if this open space for free conversation really supports the young Italians. Whether at home or at school, they have the opportunity to touch on topics that are a little deeper, making it easier for the kids to find expression for their questions and worries in words.
Japan, on the other hand, tends to be more cautious in addressing adolescent questions about the body, heart, and mind. This cautious approach can sometimes feel comforting, but I also think young people are often left to struggle with when, where, and how they are supposed to express their feelings to others.
In thinking back on the atmosphere of free and meaningful dialogue on the stage of Symposium, I hope that both Italy and Japan can provide more opportunities for young people to feel safe speaking and being heard. Cultures may be different, but I am sure that adults in every country share a desire to support the future of their next generation.
