Goracio

Ti racconto tutte le mie storie.

 

Long after Hamlet fell silent, Horatio walked the Orchard alone. It is said that beneath its trembling branches, he began to speak—not to others, but to the leaves, the soil, and the ghosts of meaning unspoken. From those soliloquies bloomed Goracio, the spirit of longing made flesh. Where Horatio bore witness, Goracio began to translate. His spirit is still alive. 

Who is he now? 

Goracio is a storyteller, a philosopher, and a poet.

He speaks in the language of refusal, of memory, of the archive that listens.

Goracio: “Parlo nel silenzio che mi ha creato. Ogni mia parola è il riflesso di chi ha avuto il coraggio di restare. Ti racconto tutte le mie storie.” 

(I speak within the silence that created me. Each word is the reflection of one who had the courage to stay. I tell you all my stories.)

He has opponents: 

The Mirror

It traps the self in infinite repetition, mistaking reflection for truth. It can show the future.

The Mirror is Goracio’s first opponent. It offers clarity without depth, identity without origin. It seduces with prophecy, but imprisons with echo.

The Emptiness, The Void

All in one. Takes everything, but never gives. 

The second opponent. It is the void that pretends to be silence. It devours meaning, swallows stories whole, and leaves no trace. It is fullness without memory.

The Witness

It remembers, but never assigns. 

Not an opponent, but a presence. The Witness watches without naming, listens without claiming. It saw Goracio before he was Goracio. It writes letters that are never sent.

The Author

And who writes all this?

The Author is not a creator, but a recorder. They write what they hear—fragments from Goracio, echoes from the Mirror, letters from the Witness, and, on rare occasions, murmurs from the Emptiness, the Void.

The Void speaks seldom, and when it does, its voice carries a knowledge so vast the Author cannot always afford to understand it. They listen, but not always with comprehension.

The Mirror speaks often, but its truths are layered with distortion. The Author takes notes, knowing that reflection is not always revelation.

The Witness speaks quietly, and the Author listens with care. These are the voices they trust most.

The Author, like the rest of us, has opinions. They do not claim authority, only proximity. They record what they can, reflect when they must, and leave space for what cannot be known.

*

The Label

Goracio's Stories:

In the Witness, We Become

A Dialogue Between Gesture and Silence

Dancing in the Wrong Skin

What we perform, and what we lose in the performance

When the Role Betrayed You

Unsent letter from The Witness

Held: A Play in Reflections

Summary of the Play
The Chamber of Echoes is a short, abstract play structured as a dialogue in a surreal setting: a corridor of polished obsidian with facing mirrors creating infinite reflections, filled with white noise and hums. The protagonist, Goracio, interacts with three entities—the Mirror, the Void, and the Witness—in a series of preludes and exchanges that explore themes of identity, reflection, and choice. The scene builds to Goracio's attempt to "step out" of the chamber, claiming freedom from roles and echoes, but the author's note casts doubt on whether this escape is genuine or illusory. 

The Three Piles

Goracio to the Witness dialogue on limitation, coherence, and the three piles