Intro

Natura Dèi Teatri is a project that gathers international contemporary performative creations, artistic productions and intellectual reflections on the current state of the contemporary art.

The Two Levels, conceptual theme of the 19th edition of the Festival, following Ovule in 2012 and Glorious in the last edition, concludes the triennial project fuelled by the philosophical suggestions of Gilles Deleuze. The 2014 programme proposes «ten stage-performing art pieces on the dual, layered and multiple identity of language», through international theatre, music, dance, video and performance creations.

For any event to occur one needs a power difference and two realms, one needs to be in two and then something happens. A flash or a rivulet and we are in the domain of desire. Desire is to build. We all spend our time building. For me when somebody says ‘I desire something’ it means he is building a concatenation. A desire is nothing else. (G.D.)

What else is the work of an artist if not to build and build again and to continue to build? To continue to search for the power difference, the two realms. A constant dual between past and a present already lapsed, the now being but a memory. And so what is contemporary? Perhaps two parallel levels; two realms which meet and clash; the light of the stars which we see in the night sky, which though constantly journeying towards us never reach us and of which the first thing we notice is the darkness from which they appear? The light in the darkness. Like in Giorgio Agamben’s disturbing image/metaphor which describes the present and the contemporary. The light and the darkness, the two levels and the power difference. For the contemporary artist the indescribable becomes more vital than light, more vital than the obvious; what he thinks he cannot see fascinates him, what is hidden excites curiosity, his crystalline image moves him, the refraction of what it unknown and unspeakable enthuses him, without knowing where or how dense the material is which from the outset deviates his ray of light. Here are the anonymous or unrecognisable faces of Maguy Marin’s Singspiele, King Lear and the reconstructed desire of an unfinished work by Verdi-Lenz-Scanner, Berti’s Maestro Eckhart which penetrates into the darkness of the spirit, the Sacred Body of sounds by Andrea Azzali and the blurry and metamorphic ones of Pieter Ampe, Tim Spooner’s The Telescope which gives shape to minimal matter, Pitozzi who radiographies the sound matter in Magnitude, Wirkus-Lenz who delve into the Höldernian darkness with Diotima, Via Negativa which searches for the limits of the human body and finally, Adelchi by Manzoni-Lenz with actors receptive to the to the time of an eternal Art, to the infinite moment when from the black of the sky, the starry light seems to pulse like a human heart to then disappear when dawn breaks.