Armenia plays a central role in the project. Its culture, art, history is much related to Mandel’štam’s life. His book Journey to Armenia is a reference for the whole project which will have a cinematic output as well filming on-location (Erevan and countryside). These images will be part of the performance and an autonomous film as well. Roberto Paci Dalò’s relationship with Armenian culture goes back in time also through the friendship and collaboration with people such aas Boghos Levon Zekiyan (actually archbishop in Istanbul, nominated by Pope Francis) and  the Italian architect Adriano Alpago-Novello (1932 – 2005) whom in 1967 founded and directed the Centre for Studies and Documentation of Armenian Culture in Milan. From 1967 to 1983 Alpago-Novello he was  responsible and member of archeological study missions in Armenian territories and pubblished a number of seminal books about Armenian traditional architecture. Alpago-Novello received several international awards such as the “Parekorzagan” prize for Armenian scholars who have made a fundamental contribution in the field of Armenian art and the  “Thoros Thoromanian” award of the Academy of Sciences of Armenia for Armenian art scholars. Roberto created through the years a number of theatrical and music productions related to Armenia. In 2015 he released, co-produced with the Armenian embassy in Rome, the record 1915 The Armenian Files and filmed the daily life of Bourj Hammoud Պուրճ Համուտ (Lebanon).

Reproducing on one’s own (by hand or on a typewriter, rarely on a mimeograph machine) texts that state censorship would never have allowed to pass was not an activity that concerned only literature, on the contrary; in the beginning it included documents of all kinds, secret materials, protests and appeals, verses, novels, philosophical essays.

Samizdat were different not only in the ideas and debates they spread to a wider audience, but also in their format. Typed, often stained and creased, with numerous typographical errors and anonymous covers. The format of samizdat was born out of a lack of resources and the need to go unnoticed. Over time, dissidents in the Soviet Union began to admire these qualities for their own sake; the botched appearance of samizdat contrasted sharply with the well-crafted and regular volumes of state-authorized texts. The samizdat format gained more importance than the ideas it expressed and became a powerful symbol of the rebellious but materially deprived spirit of the inhabitants of the Soviet Union; the format itself elevated samizdat reading to a clandestine act of valor.