Serena Mola
Short Formats. Six nights, twelve shows, four hundred minutes scarce. Why?
Every show, show an easy calculation reveals its short duration: about half an hour. The artistic works, sometimes presented in their original conception, sometimes specifically "cut" they are therefore by a lack of time dilation, which often has to be counterbalanced by a cryptic conceptual density.
Brevity is indeed programmatically announced by the dual title of the event that an explicit and preliminary indication of "gender," Short format, adds an (over) symbolic title: Intermittent dance.
addition to a growing trend of acclimatized "performative contemporary creativity" the shortening of time is perhaps one of the most typical of modernity at large, in particular underground nell'accezione of the term.
And interestingly, in the light of these circumstances, bring the two areas just mentioned, and try to read the short form (in this case dance) as the heir to some basic literary experiences of our time, trying to make a journey through four stages, four stages of Western thought that we unknowingly have marked and perhaps, interpreted in this context reveals something of the twelve short staged.
1857, Paris. Output of Fleurs du mal . Bursts into the modern literature, indeed, the impact is even stronger, in poetry, sonnet that implodes under the blows of content sensual and scandalous, but profoundly human.
1955, Germany. Walter Benjamin, in his writings on Baudelaire, he tries to to account for a fundamental perversion of anthropology, which the damned poet par excellence is the undisputed starter. Benjamin calls Choc the Flash experience, who, just like (and not coincidentally) intermittence, guides man in the metropolis: fugitive glances, hectic, sudden shocks and insensitive.
1909-1922, France. Marcel Proust rinviene traces of lost time due to intermittence of the heart, where lightning details sensations, images of a past that was thought to emerge deleted blasted with tremendous force.
1950-1979, Italy / France. Italo Calvino publishes numerous writings, romance and essays: the three allegories of modern man, united in Trilogy ancestors to Marcolvaldo , from Invisible Cities until Memos . In these texts, in a different way is what the main topic of modernity and its impact on humans, which comes out dimidiato, empty, alienated ...
The thread that connects all these experiences is the very sharp break in an experiential give rise to the advent of modern industrial, urban, or, if you like, underground. The city then becomes a true theatrical stage on which man unwittingly exhibits itself in his daily distorted.
What is important to emphasize for the purposes of our discussion is that this upheaval affects mainly an anthropological dimension, that of time. The timing of the city are fast paced, perpetually stragglers and hungry, anxious and restless. Times and dates are likely to robotize days metropolitan man, to flatten the size of daily life in a routine equal to itself, by the rhythms of the assembly line.
Calvin is not impressed by this risk, and indeed is the literary antidote to combat it: the brief. The timing of the literature, we recall and inalienable prerogative of the human soul, you are thus conforming to the then ongoing paradigmatic change, and now settled. Calvin publishes books that is short to meet a player who, curious and interested, but has less time of his "colleagues in the nineteenth century." By extending the scope
literary discourse takes theatrical form one of the ways that allow us to understand why Short formats: the scenic work, loses, becoming intermittent, it is compatible with new rhythms of life.
Here then is the reason for six nights, twelve shows and four hundred minutes scarce.
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