text | imagoturgy || Francesco Pititto
director || Maria Federica Masters
scenes | costumes | visual elements || Maria Federica Masters
music || Andrea Azzali
performer || Sara Monferdini | Matteo Ramponi | Elisa Orlandini | Sandra Soncìni
lighting design || Rocco Giansante
costume making || Manuela Barigazzi
production || Lenz Refractions
In the scenic space of “Red Shoes” the sacred function of the cross merges with the intimate dimension of the room in a relationship of diamorphic transparency in which Karen's vanitas reveals her inevitable penitential nature. In her way of the cross, a dramatic path-calvary, Karen passes through six chambers of dual sinful and submissive capacity, wearing the double tongue of the scourge, wood and blood. Sealed the mouth, the verb of pleasure is only thought, and the beauty of its genetic golden lotus –little Lolita of Nanjing – inebriates and confuses the modesty of men and women with no more desires. An orphan destined for the resurrected appetite of old ladies, children not effeminate by the emotional measurements of elegant shoemakers, a little girl ready to receive the lubric and evil touch of deformed soldiers, Karen evokes the vertigo of silent passions hidden beyond the door of the moral sky. He strikes and distorts the sacredness of the sacraments by singing the funeral wake of modesty for dying mothers and raising his tiny red sinful faith to a Eucharistic mystery. Having changed pleasure into pain, he awakens within himself the passion for pity and forgiveness, transfusing the grace of punishment into the ecstasy of angelic blonde penances at the end of death.
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