Horizontality of the language
The Nanou theatre company aims to develop the idea and the need to search for a complex and layered theatrical language that is capable of rewriting the time, space and altering a state of perception. Nanou tackles, through the sharing of its features, a practical work-based stage relation of languages, referring to the film montage as a practice of synthesis for a miscellany of instruments used outside of hierarchies.
Body, text, sound and lights are detected and used as linguistic access to the composition of the stage action; they become words continually able to shift the significance of the action.
The language of each element does not want to confirm and / or emphasize the action already in place; nothing attends upon the other anymore. All instruments explain themselves through the composition in order to engage everyone in something that is placed in the middle, in the relation beyond things and never subdued.
Perspective
Since the beginning of the work path, the Nanou company has worked to recapture the value of "time" on the run from the value and the scanning of the "rhythm". The path of the company is taking to address, in addition to the path regarding "time", the loss in and of the space, focusing on the perspective of the scene. Perspective is conceived both as placing the action and the scene into the depth and as a set of future circumstances that can be expected from a dramaturgical point of view.
It is a slight detachment from reality that plunges me with more violence into reality itself .
Empirical process
The perspective loss will be given through proximity and remoteness of the subjects in their spatial location. The variability of an "out of scale" set size will cause loss. The light actions will lead to a continuous change in density and room size. The sound actions will exaggerate or resize the performative actions. The scene is filled by bodies able to overwhelm, with actions, the space that contains them.
The continuous effort to create a dash of perspective, both geometric and narrative, to come to an exponential semantic exposure, and demonstrate a possible synthesis of perception and meaning, resulting in a manifold "chance" for the viewer. Taking Gabriele Veneziano's concept of topology, a branch of mathematics, conceived as a kind of not rigid geometry: the forms are not rigid and can deform as long as all the relationships remain the same .
MOTEL PROJECT [TRILOGY]
MOTEL is a unit of time, it's an uninhabited familiar place, it's the room for secrets, lovers and whores, and it's the shelter for murderers, the break for travelers.
The drama, divided into episodes, is the interaction of a limited number of characters within familiar and ordinary premises. The daily flow is interrupted by extraordinary elements. The episodes are substantially independent. The characters and their relationships are static and each episode's events become the episode itself, restoring the status quo.
The Motel project complicates the effectiveness and functionality of the "story", its necessity and the determination of its meaning.
We can only offer narrative residues. There will be an appropriation of the "story" as it was the ruin of an event that we can only perceive or imagine. The "story" is always "out the window."
The drama is not on the scene. A radical change will happen during the last episode. This change will represent a starting point for a new drama. The composition of the actions and of the physical score begins with an iconographic research and then structures itself in a storyboard, with the goal of creating a vision from a " single shooting point " able to direct our gaze on elements which will be able to shift the linear action pattern.
There will be three main episodes, which will compose a single performance.
photo by Laura Arlotti