AND SOMEWHERE THE LIONS ADVANCE AGAIN
It is from 1996 that Francesco Pititto works on a contemporary mise-en-year of poetic texts.
Works by Pierluigi Bacchini, Juan de la Cruz, Friedrich Holderlin, Cristina Campo have been returned to the fullness of the living poetic body. Favorite interpreter of the scenic elaborations of the Rilkian work is Elisa Orlandini, Actress capable of overcoming the grammar actor to go within the formal thematic nucleus of the poetic text. From the first, from the fourth, from the eighth.
Parts of these Duinese elegies form the unique singing of this staging of the Estica word. The terrible angel because it is extraneous to human nature – So far from the Christian Angel - of the first elegia marks the diversity of the human condition. It is total consciousness, does not participate in the extinguishing of life, does not die. E 'Pure Energy, perpetual motorcycle, His metamorphosis from visible to non -visible is already accomplished.
The actor's condition can turn that of the angel. The thought of the fourth is the impossibility of giving us in full to the other - or what or person - in the absolute know, love, fare. The enemy consciousness prevents us and we remain as spectators in front of the show of our heart. Sad show, false, coward. The poet prefers, At that time, the puppet that, left alone, awaits the angel who will move the threads.
Kleist's puppeter-theater still lives in us, Come Il Prince of Homburg, Like Guiskard, Come La Kätchen von Heilbronn, Like the Marquise von or as he had lived in Rilke: “In Kleist, an infinite heart flares up, shining and at the same time almost suffocated by the storm of his life ". The condition of the actor - away from consciousness - can sit down on the side of the inanimate. The beasts - of the eighth – I am, Compared to human consciousness, to the other side of the angelic place. They don't know death, they do not perceive any border, opposite they only have God and go eternal how rivers flow.
The condition of the actor - away from the perception of the future - can approach that of the child for whom happening is pure and that of the noble beast that no sign can delimit. From the third, from the sixth. Love is the loved girl but different is the unknown enjoyment that dates back to the depth of instinct, The infinite ferment of ancient mothers, of fathers stuck in timeless glaciers of our soul. This is more than love since timeless, and the living is dissolved in the waters, without form and in the intimate, Sign equal to zero. Hölderlin ancora.
"It is wonderful how the hero is close to young dead ./ wants to last." Just as Rilke's fig goes straight to the ripe fruit by jumping the time of flowering, Young heroes have no patience and come forward even before their own smile. The condition of the actor - away from Eros and the Effecto - can sink into the abyss of the heart and trace the tires, the caught forest of the labyrinth of the continuous happening e, finally, talk about man. With a voice and body of woman.
In some point the lions still advance
from Elegies Duinesi by Rainer Maria Rilke
speaking out || Francesco Pititto
installation | casing || Maria Federica Masters
interpreter || Elisa Orlandini
production || Lenz Refractions
first || San Secondo, Rock of the Reds, XII ed. Nature Gods Theater Festival, 8 December 2007
