photos www.sickgirl.it
one hand there is a reality that will get on the mask, the other a theater feels an urgent need to remove it. From pin-up spaghetti in the metro, the reality and second life: trends in popular drama.
Alessio Di Ramerino
During the nineteenth century the public filled the audience not only to enjoy a show or lyrical prose: a kaleidoscope of variety performances took turns on the stages of salt especially children. Often theatrical medium was used to dramatically expose the latest discoveries of science: two electrodes that generate a discharge is visible between them, light experiments, demonstrations of innovative technological machines submitted by their inventors, etc.. Etc.. In an era preceding the advent of mass media and, simultaneously, passive of swift industrial revolution and scientific and technical there is a need to communicate to people, as directly as possible, the results of the achievements of human progress . Clearly, these performances had little to do with the development of science itself, however, the need for an enlargement Information was also no question that underlies a particular meaning for the exhibition. In the same vein are also inserted a string of shows, the boundary between art, theater and circus arts, which requires the review, for example, groups of dwarfs that of hunchbacked servants farces or dramatic action.
The tsunami created by the sclerotic growth media deprived of the means of theatrical feature communications to the masses. However, inherent to certain aspects of human nature is the ability to ostentation, though now it is not always detectable in a common purpose or a message to convey. The prime example of this is before our eyes every day: reality - real or created on the script, but with a certain degree of credibility - in which ordinary people are revealed in their mediated normality, restaurants with kitchens view, where histrionic chefs cook for the audience of customers, people who live in the window under the eyes of the public bystander, not to mention the interactions generated by the creation of alter ego in virtual chat-line in programs such as second life and in games like The Sims .
One of the most recent and explicit occurrences of a similar trend is to be found in the recent show of lap dance - which is rare but recognized with cadence - acted by a girl dressed as a cat in the subway cars in Milan. The student cat gives birth to her provocative show then move passengers between disturbed and have fun with the classic short collect alms. She is part of a group of young women around a raccoltesi virtual community, always open to new members, called Sickgirls. The pin up spaghetti ( www.sickgirl.it ), whose members call themselves modern and very Italian pin up that blend the delicate boldness of women from the Fifties America cover with an irreverent streak around the same time. If the meter is configured as a dance in the most explicit example of the will of provocative members of the group, in a versified short presentation of their assets at the beginning reads: "erotic drama with a hint of irony." Such a manifesto is explicit photo, reviews, articles, unpublished short stories and a number of other material in accordance with the editorial line of the web site published on . However, what we would like here is to try to find some lawful use of the word play.
First of all it should be noted as a private exhibition a message to transfuse it becomes pure performance, or better, "exhibitionism", loose from the constraints of their medium theater. In this case, however, we are confronted with a provocative and will therefore carries meaning. In addition, in particular, there is also a common need to expose themselves in front of a tangible result, mediating their being through belonging to a group, using a code expression of which, a priori , were granted specific behavioral details.
We have repeatedly used the word "mediated" in this paper, however, given the scope teatrologico where our thoughts belong, would be more appropriate to use the term "mask". Figure of any kind of display a message carrier, the use of a form, whether real or imagined, often becomes the key to interpreting the message itself, compared to placing it in a metaphorical relationship. Increasingly, the form allows you to take a sort of personal identity other immune from criticism, to feel protected if you want to loosen the brakes inhibition, to play a role in all and for all theatrical and representative to act a part rather than living it.
needs now conduct analysis on other side of the coin. Several times in some area of \u200b\u200bmy research I found spettacolistico contemporary poetic drama in front of the stage designed to bring the confession is no longer the character but the actor, joined the exhibition of the naked body and shocking details, including sweat and other body fluids (See in this regard, an article by Renato Palazzi and appeared on the sun 24 hours of March 5, 2006, in which the critical comments received at the Biennale trends spettacolistiche Theatre). This mode seems stretched to the representative will find a new figure ontological event live, "live". Naturaliter , everything that goes on a stage has to deal with through the inherent drama in the middle in common sense and, therefore, give up a more or less detectable quid of reality and take on the characteristics of force-mediated transmission.
In conclusion, on the one hand there is a reality that will get on the mask, the other a theater that feels like an urgent need to remove it. Could not be established, unless it is done with psychology and anthropology from peanuts, if the origin of the observed trends should be considered the daughter of an unconscious reflection parallel or whether it is pure coincidence, as some seem to assert that the search for a truth more and more real by some poetic representative is a reaction to the reality in the mass media, but fictitious reality created and implemented in good faith. We do not judge it, our task is limited to the observation and record trends such as those described above, for now lack the necessary critical distance to their categorization.
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