MORGANA
Year / duration
2021, 45'
Concept / Dramating writing/ Performance
Stellario Di Blasi
Production
La Biennale di Venezia
Creation of scenes
Chiediscena, Filippo Iezzi
Mask made by
Roberta Traversa
For curating the objects thanks go to
Eleonora De Leo
Winner of the call
Biennale College Teatro - Performance Site Specific 2021
Photo credits
Courtesy La Biennale di Venezia - © Andrea Avezzù;
Courtesy © Roberta Traversa
Courtesy © Katarina Rothfjell
Video
Courtesy La Biennale di Venezia - © Lucio Fiorentino
Video editing
Stellario Di Blasi
Fishermen pulled a bottle out of the depths.
Inside there was a piece of paper:
“HELP ME!
THE OCEAN HAS CAST ME UP ON A DESERT ISLAND.
I’M ON THE SHORE WAITING.
COME QUICKLY. I’M HERE”.
Wislawa Szymborska
I recognise the handwriting, it’s mine;
AB IMIS is the response to that appeal.
The Recycling the Body, Absence and Freedom themes (as the confined and boundless space of the body and the mind) move with an awareness of wanting to enquire with the question: “Why do we cancel out what happens?.”
Why do we obstinately refuse to move away from the signals which the world sends out, remaining anchored to our ludicrous certainties?
The spark leaves an x-ray image of the potential to escape our skins, to travel across the debris – between fiction and real life – to develop the footprints which connect us up with the Whole; embracing our souls once again, rediscovering the garden and the rain which looks after it.
1| Breaking down the manipulation of others and our preformed images of ourselves, to take on board listening change; like a spring peony exploding with swollen beauty, opening up to the light to the point of rending limbs and hearts, before letting itself go in the knowledge of having lived.
2| Deconstructing action in the light of Artaud, Pessoa, my mother, Michelangelo, the Sicilian sea and Emily Dickinson, accomplices in a never thoroughgoing dancing tea; collecting water circles and shells on the beach of consciousness via which to cast out into the deep.
In this way a new pigment takes to the air: a symbolic identity device within which to recognise ourselves: a colour capable of looking backwards and forwards; my personal Janus Blue.
A magical tool which holds in store the classical connotations and, in equal measure, the absence of gravity of a future rebirth.
In a spatial trajectory which takes on the meaning of an expiation ritual, marked out by geometric symbols – a boxed up expanse of empty volumes – the conflict between nature and artifice brought into being by Pino Pascali summed now with the absence of water transforming itself into synonym of soul obscurity, escaped hopes needing something to hang on to; an icy, misty island of the dead, Böcklin style, whose perimeters are our consumption fetishes.
Modular tiles, millions of souls seeking to breathe on the chessboard of life we close ourselves off on, generate stupor only when, in renewing – from the deepest foundations – we build an assemblage of imaginative and shared faculties.
Vedo dove devo
L’attuale contesto socio-culturale incoraggia le speranze e condiziona le nostre vite, raggirandoci attraverso inganni percettivi e di senso che inducono alla “morte”.
La disobbedienza e la trasgressione sono diventate conformismo perché la nostra società rigetta i perdenti e spinge ai margini i più deboli, infondendo la paura di diventare prodotti sterili e di scarto.
Siamo manipolati con l’illusione che si possano risolvere problemi complessi di forma e di sostanza: siamo come gli “scemi di guerra”, storditi dalle continue occasioni di svago.
Vediamo dove dobbiamo vedere, dove ci dicono di vedere, così che la nostra insicurezza narcisistica consumi la nostra identità e ci renda esseri soggiogati, denudati delle nostre peculiarità, del nostro intimo essere.
Quando questo miraggio trova il suo disincanto, nel momento in cui è chiaro che tutto è inglobato dal potere e s’inceppa l’intricato meccanismo d’inganni e autoinganni, la realtà può risultare insostenibile: smettere di “essere contro” un sistema e allinearsi alle voci dominanti o consegnarsi al mondo come un prodotto già pronto all’obsolescenza e scartato da un continuo ricambio?
Liberamente ispirato al mito e al fenomeno ottico della Fata Morgana, la pièce è il secondo step di una trilogia dedicata ai miti dello Stretto di Messina e ha come intento una loro rielaborazione contemporanea attraverso l’interazione di danza, musica, parola e visual art.
Date
12 ott 2018
ore 21:00 - indoor
Festival Tendance
OperaPrima Teatro
Latina
09 ott 2018
ore 21:00 - indoor
Festival InDivenire
Spazio Diamante
Roma