Creation Maria Federica Maestri, Francesco Pititto
Dramaturgy, imagoturgy Francesco Pititto
Composition, installation, costumes Maria Federica Maestri
Original music Andrea Azzali
Performer Marcello Sambati, Tiziana Cappella
Curating Elena Sorbi
Communication, press office Elisa Barbieri
Organization Ilaria Stocchi
Promotion Alessandro Conti
Technical care Alice Scartapacchio, Giulia Mangini, Tiziana Cappella, Dino Todoverto, Linda Mahmoudi
Assistant Giulia Mangini
Photos Elisa Morabito
Production Lenz Fondazione_Festival Natura Dèi Teatri
Parma, Galleria San Ludovico, dal 25 novembre al 3 dicembre 2022
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.
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