film scripts and video works created for stage installations and performances


from the novel by Georg Büchner
“Il 20 January Lenz set off into the mountains…”
playwriting | Maria Federica Masters
imagoturgy | Francesco Pititto
regia | Maria Federica Masters | Francesco Pititto | Bruno Stori
interpreter | Bruno Stori
Shot on 16mm film. new part at the San Cataldo Cemetery in Modena, designed in 1971, in a rationalist-metaphysical style according to the project, unfinished, by Aldo Rossi and Gianni Braghieri entitled “The blue of the sky”. First || Parma, Lenz Refractions, 28 March 1986
Inspired by Alan Schneider's FILM with the screenplay by Samuel Beckett, his only film work. Protagonist Buster Keaton.
"It is perceived to be. Every extraneous perception is suppressed, animated, Human, divina, self-perception continues to exist. The attempt not to be, in the escape from every extraneous perception, is nullified in the face of the inevitability of self-perception". (Samuel Beckett, Film).


CATHARINA OF SIENA DI J.M.R. LENZ Film 16 mm. original live film extracts from “Café Müller” by Pina Bausch.


LIFE IS DREAM: Madrid. In the square the statue of Caldéron de la Barca seems to look at the back of the statue of Garcia Lorca from a distance. They both look at the theater which in turn looks at them. In Plaza Mayor people pass and move away from its many corners and passages through the streets of Madrid. In the rooms of the Academy of San Fernando they rest, among the others, Goya's due opera “The Burial of the Sardine” and “Casa de Locos”. Two places of the mind where our female figure vanishes, two visions that scream the pagan celebration and the madness of reality.
Of the Pieta. Overlay, sum, with/fusion of memory states, mixture of signs and dreams. Antonello's Pietà and the Theater Pietà. Clorilene. The Mother who is not there, the “Tiger Absence” that pervades everything, that determines everything, dying.
Plaza. In the statue square, the seventeenth and twentieth centuries, Caldéron and Lorca never meet eyes. Smoking. Semiramis from “The Daughter of the Air”, Julia from “The Devotion of the Cross”, Angela from “The Goblin Lady”. The image implodes until it vanishes in the red of the fire. Blue rosaura. The warrior woman, between swords and scimitars, claims her being a woman. A soft blue and gray light dominates the neutral place. Accademia. They flow, the works of the Great Image Creators struggle with different movements. Sardina.Theatre and Madness, Profane and Sacred, Carnival and Lent. The Burial of the Sardine and the House of Fools attract, they suck, in/incorporate the Actress nurse. Together they dance and laugh. It's always party time. It's always time to live and dream.


BRUNO LONGHI footage of historical documents and Togliatti's funeral, fragments from “Uccellacci e Uccellini” by P.Pasolini.

CONCERTO A LO DIVINO Sequences of naked bodies rotating on the ground within luminous crosses and physical superimpositions in tracking shots from above.


PRINCE CONSTANT resumed in Morocco (Tangier and Fez), Ceuta, Seville, Madrid, Burgos, Cordoba and Barcelona. Film sequences of actorly actions on beaches, alleys, tomb of Genet, practice match with children next to the Mosque, on Roman finds, in hilly exteriors, on towers and squares.

Reproduction via monitor installation with film sequences made in Barcelona with actors, in different points of the city, indoors and outdoors.


RADICAL CHANGE 7 EPISODES FROM OVID'S METAMORPHOSES Creation of imagoturgy for each single episode: Phoenix Death e Phoenix Birth, Narcissus, Eurydices, Hecuba, Kingfisher, Pyramus from Thisbe, Daphne.


I FROM OVID'S METAMORPHOSES, imagoturgy on body and gelatin.

DELIVER TO US CHILD YOUR EYES imagoturgy on multiple red eyes, bodies of actors, actor actions in dialogue with the corresponding live actions.

CHAOS imagoturgy on close-ups of shaved heads, overlays with material elements, chromatic modifications.


EXILE DA TRISTIA DI OVIDIO Riprese from Bucarest e Costanza in Romania. Landscapes, marine and city environments, parks and classical concerts, squares, people.

EXILIUM THE GREAT SCAR Imagoturgy with outdoor and indoor film sequences by Lenz Teatro. Actual actions in dialogue with live actions, reproduction on transparent cylindrical scenic element.

DIDO FROM OVID'S EPISTUAL filmed in Carthage in Tunisia and Cartagena in Spain. Film sequences with actor actions in marine interiors and exteriors.

DIE SCHACHTEL Imagoturgy created with actors and musicians, choreographed close-ups of the head in rapid and repeated movements. Reproduced during the execution of Franco Evangelisti's work on four transparent walls, containing the entire instrumental staff.

HAMLET AT THE ROCK OF SAN SECONDO Imagoturgy created inside the Lenz Teatro, acting sequences in direct dialogue with the live sequences, reproduced in the different spaces of the medieval fortress then Renaissance residence.


Imagoturgy carried out before the theatrical rehearsals of the different sequences, on a large mobile armchair, with an aberrant effect of the physical body and reproduced on large transparent scenographic wings together with chromatic compositions of material and floral elements.

HAMLET AT THE COLORNO PALACE Imagoturgy created inside the Lenz Theater and in the interiors of the palace, acting sequences in direct dialogue with the live sequences, reproduced in the various spaces of the Farnesian ducal residence.

AENEIS (SIX EPISODES ) Imagoturgy for each episode in dialogue with live actions, animal elements with chromatic modifications, chromatic compositions with material elements, corporal and informal.


HAMLET AT THE FARNESE THEATER Imagoturgy created inside the Lenz Teatro, acting sequences in direct dialogue with the live sequences, reproduced in the different spaces of the Pilotta Monumental Complex, in particular at the Farnese Theatre.

AENEIS IN ITALY (from books 7-12 of Virgil's Aeneid) Interior shooting at Lenz Teatro, with compositions of fruits and vegetables. Imagoturgy for each episode in dialogue with live actions, chromatic modifications, compositions with plastic elements, corporal and informal.


THE BEtrothed Imagoturgy created inside the Lenz Teatro, supine actor positions, sitting and standing with circular movements, with repeated gestures, in particular the sign of the Cross. Body modifications with height aberrations and intense chromatism, reproduction on large transparent sheets – with wall function – within a large space divided into rooms. The public's vision, in freedom, it followed the perimeter of the installation within which the actors acted.


VERDI KING LEAR_THE OPERA THAT DOESN'T EXIST Imagoturgy characterized by bodily movements of an old man in a fetal position, with changes in frames and angles, reproduced from the back on transparent sheets in series up to the proscenium. The actions of actors and singers took place between the transparent screens.


AN HOUR OF ANY DAY Full-length documentary feature film, in the internal and external places of Pier Luigi Bacchini's country house. The sitting points, the views and landscapes, the work room, the kitchen. Environments, corners, perspectives and visual spaces of his writing.

THE FURIOUS THE ESCAPE, THE ISLAND Imagoturgy created in the interiors and exteriors of the Guatelli Museum, sequences of multitudes of objects collected in different shooting planes, actor's actions in the environments prior to the live performance. Indoor and outdoor reproductions interacting with live actions.

THE FURIOUS MAN, THE PALACE Imagoturgy created in the interiors and exteriors of the Rasori Pavilion, acting sequences in different spatial and chromatic situations, both internal and external, in pre-live environments. Indoor and outdoor reproductions interact with live actions in the different environments of this historic abandoned hospital building.

GREEN KING LEAR Imagoturgy identical to the one created in 2014 for a single room, and in addition second Imagoturgy, with close-ups of actors and singers characterized by black and gray color dominance, for the second room where the second part of the work was carried out. The playback took place on two large screens, from the proscenium to the backstage, with the effect of doubling and overlapping the images.


THE FURIOUS THE ILLUSION, MADNESS, THE DEATH, THE MOON Imagoturgy created in the interiors and exteriors of the Cremation Time, acting sequences in different spatial and chromatic situations, both internal and external, in pre-live environments; both of the Temple and of Lenz Teatro. Reworked science sequences of the Moon and planets. Indoor and outdoor reproductions interacting with live actions in the different environments of this large structure of farewell and silence.

AUTODAFE' Imagoturgy created in Lenz Teatro, close-up acting sequences with facial modifications, reproduced inside today's cell of this ex-Napoleonic prison. Reproduction took place via monitors positioned inside the cell and close to the actor. More sequences of elaborate and aberrated close-ups, of old and historic actors, they were reproduced on the vaults of the long corridor where the main choral singing actions took place, singing and acting performances.


THIS WEAK FORCE (from Oedipus the Tyrant and Hyperion's Song of Destiny by Hölderlin) Imagoturgy created at Lenz Teatro, full-length acting sequences, Rote, reproduced next to the Roman statues of the Hall of Statues of Veleia, inside the Archaeological Museum of the Pilotta Monumental Complex. The duplication and repeated rotational movement produced an effect of holographic epiphany and memory.

PURGATORY Imagoturgy made of large Numbers: 1, 3, 7, 9 reproduced in the vanishing point of the central nave of the former Ospedale Vecchio in Parma. Symbolic relationship with the path of Dante and Virgil in Dante's Purgatory.

PARADISO. A SACRED PIECE Imagoturgy reproducing on the floor a flow of blades of light like water from a flowing river. Above, on the upper floor of the imposing structure of the North Bridge, a tondo containing figures of black holes, a baby in the mother's womb, a divine and aberrated image, rotating together with the round/world/sphere, in the figure of Leonardo da Vinci's Scapigliata.


THE GREAT THEATER OF THE WORLD Imagoturgy reproducing two figures belonging to the Betrothed, a, aberrated and with accelerated movement, reproduced on the large entrance door of the Farnese Theater and the other, with identical effects, enveloping the monumental statue of Maria Luigia by Canova in the Sala delle Colonne where, in length, the performative action took place. The third sequence, original, created at Lenz Teatro and reproduced on three large surfaces of the stage of the Farnese Theatre, reproducing three close-ups in slow motion, all different, of the Author/God, played by a child actor. One and Triune as the God of the auto sacramental.

IPHIGENIA IN AULIDE Imagoturgy reproducing figures from Correggio's frescoes taken live and at close range, reproduced on a small transparent screen in the Oratory of S.Quirino.


LIFE IS A DREAM Il Giobbe by Antonio de Pereda, (1611/1678), painting present in the renovated north wing of the National Gallery, becomes the object of dramaturgical and visual investigation for the implementation of the auto sacramental. Our Man, per l’auto sacramental, he will have the features of a teenager in the same posture as the painting: to hold the shard, the hand resting on the heart and the gaze turned upwards, to God. The difference between the fixity of the painting in the penitent figure of Job and the movement of the Man/Child, in the young body of those who look towards the future, will distinguish between the freedom granted whether or not to betray the Faith and the freedom to be conquered as life progresses. What is the boundary between the free will of one and the other? Then in place of the Child, to merge with Job, the figure of a man whose mind has undergone a shift throughout his life, at which the border between dream and real world, between fiction and reality, it has become thin, interscambiabile, between an inside and an outside which determines the freedom to decide, like not deciding.

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