THE PROPHETIC QUANTITY AND WATER
Francesco Pititto
There are several imposing images contained in the chapters, the cloud above the tent of God, the silver trumpets, the red heifer, the bronze serpent, the donkey, the consequences contained in the new laws. Images and situations that configure different affinities with our present, so precarious on principles, on respect for the earth, fearful of diversity and more inclined to close ourselves off than to open up to the risk of the new.
The two pillars of dramaturgy, however, address in particular the question of quantity understood as the sum of individuals united by a prophetic mission – between conquest and promised land - and that of water, a vital element for achieving divine and human goals, for conscious and unconscious representation of this element.
For Jung, water was a metaphor for the unconscious. In the study of symbols connected to the psychology of the depths, extreme importance is attributed to water: it is an indispensable element of life but it does not nourish, it is a fundamental symbol of all unconscious energy and therefore it is also dangerous when it occurs by crossing its own banks (psychosis).
The word majim, “water”, resonates over 580 times in the Old Testament, as the Greek equivalent hydor returns about eighty times in the New.
About 1,500 verses of the Old and over 430 of the New Testament are “soaked” in water, because in addition to the words mentioned there is a real constellation of realities that revolve around this precious element, starting from the dangerous jam, the “sea”, or from the more domestic Jordan, passing through the rains (with different Jewish names, whether autumn, winter or spring), the springs, the rivers, the creeks, the canals, the wells, the cisterns, the celestial reservoirs, the flood, the ocean, and so on.
Not to mention the verbs related to water such as drinking, watering, thirsting, quenching thirst, pouring, immersing (the “baptizing” in New Testament Greek), washing, purifying. _ To the thirsty people, who murmur for their lack of faith, God responds with the miracle of the spring that emerged from the rock.
Even the research on the images generated by the writing of Lenz's original text –imagoturgy – and vice versa the verses regenerated by the images mainly refer to water, its lack, its strength to determine the landscape, including the landscape of humans and non-humans. Then the quantity drained and restricted into an individuality, into a solitary being –the only biped in the picture – into a reciprocity of opposites that create a void full of presence, as if all humanity had imploded in that one living being.
The place lent to the image text, to the visual dramaturgy, is a dry beach of the Po, where heat and heat outline perspective shapes and air waves that move the contours.
The Poet lives alone in that landscape.
Lenz NUMBERS is only ideally referred to the Book of Numbers, the fourth book of the Old Testament. The numbering of beings, the census that lists and names bodies to be re-known, the travelers in the desert as witnesses to the test of pain and redemption are new matters of reflection, after Genesis, a new focus on the sense of contemporary theater and on the meaning of representation.
NOTICE AND REVIVE THE TRACES OF THE HERE
Maria Federica Maestri
Reveal the remains of the sacred | Reinstall the funerary monument | Refluctuate the voltage of the power plant
OCCLUSION OF CHAPELS AND APSE
The painting-apparition occludes the vision of the space of the Eucharistic mystery and summarizes the transitory manifestation of living natures of death. Electric sliding of the limit, disappearance of the horizon: chromatized reflection of tiny promised lands.
FUNERAL NATIVITY
The lean cradle perforated shroud-cloud-tent of Moses together with female wrapping-bandage of Miriam the leper sister –the only voice/body of a biblical woman – is a post-marble vibration of the neoclassical and sentimental funerary monument (from the nineteenth century fallen into silence and oblivion) love dedication of Maria Luigia to her morganatic husband.
PLATONIC STOUPS
In the denutrient banquet the shell torn from the seabed, a homophilic lover forever separated from his other half – calcareous and hard – encloses uniquely and broken the liquid pearl for the baptism of the old diviner, neoTiresias with withered tits of Heliotian memory.
DISPLAY OF VAULTS
The concavity of the golden vaults mirrored in the shells of gastropods –one in multiple and perpetual replication – contains the contents of the only saving act performed by the concave fertilizing hand of the fleshy valve of the Christian martyr (the church erected in 985 AD preserved the relics of Saint Felicola, the holy martyr who did not want to marry and sacrifice to idols).
THE LOST ALTAR
Depleted of its celebratory table, desertification of the word-body and blood of Christ, the cultic space becomes an anti-sacrificial enclosure and a chamber for adoration of the animal, a space for inebriation, for reinvigoration of the old Aaron, for vindication of the physical over the metaphysical. The immobile calf dripping with fake gilding is the king of the amusement park. Solid, vitrified memory of the holocaust, sacrifice, and pain is hymn to joys without any otherworldly tomorrow. Idol of the withered member reaches out towards the faithful and infidels with the warm tongue of the dream. The skeletal awakening of his skull garlands the return to my present.
SOUND COMPOSITION
Andrea Azzali
The work of constructing the sound fabric of the work is defined through the analysis of two main elements, present in dramaturgical writing.
The first part is developed through samples of the work Moses und Aron by Arnold Schoenberg. These samples taken without narrative continuity are reworked and structured in parallel with the text and the dramaturgy. Processing consists of the use of different algorithms (granulators, filters, distortors) that increase the semantic placement and space-time of the text, a sound elsewhere of different nature that introduces new forms of relationship between rhythm and word, between music and image.
The second is inspired by the biblical text. In the fourth book NUMBERS of the Pentateuch the people in exile are registered, the quantity is defined in order of necessity, the people are divided by age and gender in the perspective of the war for the promised land. Through a numerical game, these different values and weights give rise to a series of digits, new numbers, which generate sound frequencies.
These frequencies are then inserted into a serial sequence which is the basis of the composition. The sound material - the mass of sounds and singing returns - is generated through the use of sine wave generators, treated with filters and then recomposed, hand in hand with the scenic context and performative action.
