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FAUST I

The dramaturgy of Faust I sinks into the first part of the definitive draft of Goethe's work. In Lenz's vision Refractions, directed by Maria Federica Maestri and Francesco Pititto, the Faustian cognitive tension – the streben – is realized in porneia – prostitute – of the body.

 

Faust in search of the sensitive human, of the vibration that regenerates, of sexual energy that restores youth, it strips itself of the dignity of the subject and becomes the object of physical experience.

Bodies for sale, the souls already sold, orifices witnesses of pleasure and pain, limbs and members pointed by virtue of solitary enjoyment, unaware of the guilt, innocent, children show themselves on the screen of the theater fairy tale.
Faust is here, limping on the verge of suicide. Abandoned the god of reason, the old is ready to melt into everything, to proclaim dementia as the queen of emotion. The body encouraged to abandon the old moral rule relaxes with the muscle stretched out to the humidity of loving nostalgia.

The faithful Margherita dies and dies of love as always, in his suit of banknotes. He strips himself of his suffering and dances the dances of dishonor, donating his money to the merchant public. He dances to the rhythm of Portuguese music and auctions off his body and voice in the putrid cellar.
Bad poets, dry and long arms drunk with life, locked up in lumbar cellars they sing at the top of their lungs about the evil of the goat. Natures without cerebral motion, dancers ugly shadows of the night without stars. Somewhere over the rainbow, acoustic toposities listen to solitary pleasure. All squeezed into a large basin overflowing with corks flooded with piss and wine. It foams in the air by twirling the hanging wooden shaft of the fleshy stick. Faust, a female body still blind to sex wears a blindfold that obscures its sight.