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There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality. But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality? This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make their languages work at the service of each other. A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority), strong (the place for communication becomes multi-channel), but necessary (in view of a systemic approach of science communication). It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society. The theatre is a branch of art, in the materiality of stage and costumes and in the immateriality of ideas and words. Starting from this assumption, we should not limit our speculation to the role of the theatre in the new generation of scientific museology (which I would take for granted), but extend it to the methods for integration between drama and the places of science, between drama languages and techniques and scientific languages. Forty years have passed since the inauguration of the first science centre in the world, the Exploratorium of San Francisco, which was ideally and practically the breakpoint with the traditional concept of the science museum. Since then, many things have happened in the realm of scientific museology, and some have substantially contributed to the definition of a new museum conception. The introduction of the exhibits hands-on, the ever more invasive use of new technologies, the arrival of the virtual world have changed the foundations of the way to conceive and build a museum. In the past few years, in a systemic conception of a museum as a container of knowledge and science communication techniques, a fundamental role – although not equal to science – has been acquired by art and, most of all, dialogue has been restored. Words have become protagonists in a scientific locus which no longer wants to adopt the obsolete model of a ‘deficit’ (scientists giving knowledge away to those who ignore it), but willing to dialogue with visitors in the attempt – not to be failed! – of building the citizenship of knowledge through a multisubject communication in which the different players establish a two-way dialogue. Words and dialogue are to be conceived as a form of transformation of reality; and what is drama but fiction and transformation of reality? Both actors and the audience of a theatrical performance see a (hopefully, at least) good make-believe, but everyone perfectly knows that it is a make-believe, so there is no deceit, but only truth; precisely the truth which is pursued by science (and by those who work in scientific museology) as an objective category of the world.

The theatre, (art) and science: between amazement and applause!