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Dewey Dell

Grave BUDA kunstencentrumKortrijk, BelgioDebutto1 e 2 dicembre 2011
luogo durata
Presentations
01/12/2011
02/12/2011
progetti
indietro

Muta Imago
DISPLACE



allegati

"From the cradle to the grave the problem to establish an order in the chaos, direction in the space, discipline inside liberty, unity in diversity it's always been and will always be the task of education, as it constitutes the moral of religion, of philosophy, of science, art, politics and economy."

Henry Adams


Premise

Displace: To move or shift from the usual place or position, especially to force to leave a homeland.

We'd love to travel. To make small things in warm and comfortable situations, after having crossed spaces, lines and directions. Reality. The small everyday things. We'd love to dip into the lives of all the persons who, by their own mere existance, make the world in which we live exactly this world and not another one. We'd love to understand their relationship with the space they inhabit and how this relationship draws a geometry of the present time that concerns us all.
To discover in which terms their everyday struggle with the mystery unfolds. How they fight and how they protect themselves from all that they don't understand. And how this war, this defense, ends up for them in drawing their daily geometries: their movements, their barriers, the shapes of their staying in a place. And the shapes of the place where they are. And how these two kind of shapes influence each other generating a totally human geometry never existed before and that will never exist again.
To collect framgents of reality to make them matter of creation; to transform single stories in a Single Story, single individualities into universal shapes, multiplous spaces in one idea of space and relation to it: just like geometry does, which takes the sun, the human eye, the daisy's pistil and transform them into a circle, in order to discover the formulas that govern its universal functioning.
To cross moltitudes and meet solitudes; to understand how many square metres are sufficient for a person to live, which and how many places he/she crosses in a day, how he/she protects his/her space, how he/she imaginees it confronted with the space of the others: when does he/she feels it ends.
In order to create abstractions that will keep on talking about this, but to everyone.
In order to tell the beauty of these lives and shapes, ancient but new at the same time, because "there's no past to regret, there is only the everlasting new that forms itself from the same extended elements of the past, and the true regret should always be productive, should always create new and better things" (J.W. Goethe).
Points and lines. Paths. Ramifications. Spirals. Crystals. Chaos.
Geometry. Intended as a human science. A science that organizes the space through recognizable shapes. That celebrates the abstraction from real things. That moves from natural shapes in order to get away from them, forever. A fight against chaos and the unpredictability of the nature and the world; a fight that unfolds in lines, shapes, dimentions. The attempt of a race, the human race, to detach from the contingency and the enormity of dimensions, in order to make everything of its size. Humane space and time. Humane the shapes and the design of movement; humane the celestial spheres and the spiral of the shells, the lines on a leaf and the delta of a river. Humane chaos itself, thanks to fractals and Mandelbrot.
The fight for simmetry, for the costruction of a point of view that should comfort and reassure.
The human being that tries to understand, to know, to organize his own space and his own point of view: this is what we want to find out. We want to understand in which shapes his attempt to know unfolds. If and how the emancipation and the progress of Man passes by the refusal of irregular and disordered spaces in the name of order and precision.


Questions

The relationship between space and time. The human being in the middle of these two vectors, of these two dinamics, of these two continuous shifts. Not from a theoretical point of view, but not even only from a practical one. But the meeting of these two glances in the real life. The relationship between the human being and the space he inhabits, and in which ways this space puts him in relationship with time.
Man and space. The individual and the city. Displacement and speed. The destination and the starting point. Our reliance on each and every second on the continuity of time, and, at the same time, on the fragmentation/division of space.
I still think, I still talk, I still read, I still walk, and so, I'm alive. But where. What still saves me is keep on feeling myself in a space and time.
Everything leaves a trace of some sort.
The human being is at the centre of its world, in the middle of anything which surrounds it. From the roads it crosses to the landscapes he contemplates, everything looks like it's been built up in order to be enjoyed in a very ordered way. Well-ordered are the directions we cross, well-ordered is our glances themselves.
Our glance on reality is always filtered by the space in which we find ourselves, in which they put us. I see a space starting from a space. What will happen when this relationship breaks down? What will happen when I'll find myself alone in front of the most various DIMENSIONS? Or in front of their sudden and total absence?
We want to study the relationship between man and the geometries that surrounds him. Trying to understand what are the shapes that do generate conflict and what are the shapes that don't. How the body of a single man (and of a performer) relates to the BIG and the SMALL. Which emotions the dimentions create and also: from which emotions SHAPES and DIMENSIONS are generated.
And in this way, cross disciplines like architecture, urbanistic, optical.
The body of the single individual and the organism of the society he created: how do these entities create gemoetries and in which ways they enter in relationship with the geometries they create.
What's the connection between shapes and power? How much our capacity of imagination is influenced by the shapes we know? How much we love them and how much we try to get away from them? Our affection to geometrical spaces brings us to live in houses which are cubes, to walk in squares that are circles and to move through streets that are lines. Where does the body of a man really place himself in relationship with these three elements: point, circle and line? When and how a CONFLICT gets born?
What about the shape of the border?
Where can we find these shapes in the body and in the action of the performer?
How can we build an emotional dynamic starting from shapes?

performance: Displace #1 La rabbia rossa

Direction / Lights: Claudia Sorace.
Drama / Sound: Riccardo Fazi.
Technical assistance: Maria Elena Fusacchia, Massimo Troncanetti.
Performance: Chiara Caimmi, Fabiana Gabanini, Valia La Rocca, Cristina
Rocchetti.
Production: Muta Imago 2010, Focus Project on Art and Science, Regione Lazio.
Artistic Residencies: Inteatro Polverigi L’Arboreto, Teatro Dimora di Mondaino, Angelo Mai, Ruota Libera Teatro, Teatro del Pigneto.


Photo by Luigi Angelucci