Une image
n’est pas forte
parce qu’elle est brutale
ou fantastique
mais parce que
l’association des idées
est lointaine
lointaine
et juste
J.L. Godard
The performers' bodies become mythical simulacra capable of reflecting Ovid's poetic impulses through a formative path, built on a scaffolding of attractions and repulsions, contacts and estrangements, maturations and mutual destruction. The Latin language enters the performative dimension by creating a textual framework of great symbolic tension: the words are imprinted in the sequences, providing a visionary artistic support that abstracts the gaze from the scenic actions. The word becomes an absolute verb within the bodies of the performers, creating a layered sound fabric where the pre-human identity of the shapeless and original mass becomes, after an extreme process of evolution, the legend of the birth of man.
GOD.SEPARATION OF ELEMENTS. The jeune fille presents and exposes its naked body before a series of “poorly combined” things begin the overlapping architecture of the material and chromatic elements. Before and after the feminine body is deconstructed and re-constructed by changing form and content – ante mare et terras … -, the unknown history that each sign/garment carries with it re-forms meaning before and after the here-and-now of the body that appears to us. It informs and confuses the superposition and builds – plane by plane – a new gestural and corporeal texture, the objects literally incarnate, deform the profile, create the new silhouette, the simulacrum of the human.
The jeune fille, now unique in semantic values, separates and distributes to the newborns –in order and harmony– the fragment necessary for the progress of aesthetic creation. New history is generated by re-form and the generation of new expressiveness, not the other way around. Two bodies have been added to the elements, a male one already marked by time and a female one sensitive refraction of the original.
THE EARTH AND THE SEA. But in composing the new scene of the globe, the primary goddess of the division between heaven and earth sends the third imago –arming her with word and voice– to announce to the world the new All, texts already written for the reborn human race.
THE FIVE ZONES. La jeune fille Marion, once lived within the confines of a book – “The Death of Danton” by Georg Büchner – still enunciates its own double between man and Nature, between consciousness and unconsciousness “I have become like the sea that swallows everything and stirs ever deeper”.
THE FOUR WINDS. Turn, turn, faster than the earth, the woman who embraces not just one love but all love.
HUMANKIND, the human race with its ball-shaped heads. World-shaped. The generation of lineages begins, mothers and fathers, sons and sisters, on anatomical beds where procreation and death follow one another incessantly and terrifyingly, where children blame their fathers and mothers for the suffering and unspeakable hardships inflicted on them by unsolicited births, for the joys and enthusiasm of the full term punctuated by the mathematical rhythms of evolution and continuous becoming. Natus Homo est.
HUMANKIND: creation wants to create, in its shape and likeness, like a skull a round ball. The artifact wants to become an architect, but the product is weak, it cannot withstand the fatigue of the world. The simulacrum of the god is now a simulacrum of himself, while the god looks at him from afar.
HUMANKIND. “What is man? How is it possible that there is something that ferments and boils like chaos?” The old man wonders – as Hölderlin wondered in his Hyperion -, cared for by his daughters who first cursed him, now he is dried and alone, ready for the next incontinence, for the flow of what remains of his physical power, only in the suffering of abandonment, with his daughters witnessing their own, intimate and profound, defeat.
GOLDEN, SILVER, BRONZE, IRON AGE. But man regenerates, or rather the female more than the male. Regeneration is dramaturgical development, it is change – metamorphosis, radical change, chaos -, the plot of illusion and invention, of lies and poetry, of the stench and perfume of the human: Shakespeare. “Come bitter leader, come disgusting guide! You desperate pilot –“. The old man lowers his pants and shows the wrinkled nakedness of time, takes revenge on the younger bodies and beautiful words of invented worlds. E’ a male without words, only the sound of desire, of hunting, of apprehension. He will realize that the true always incorporates, sooner or later, the false: “So with a kiss I die!”
The old man styles himself with pieces of the past time, of other eras. Other signs.
Only bequests, departures, one last vulgar gesture, repeated, to the gods.
