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The language of provocation between cinema and theater, in conversation with Sergio Germani Grmek

Roberto Caielli

The etymology of obscene and provocative explores border areas between the public and the scene that marked the recent history of the theater, he stressed the limits and potential. The provocation and the obscene is a threshold that the artist want to try and cross, in obedience to a principle sometimes instinctive sometimes just stupid sometimes philosophical, sometimes for the sake of the scandal that is sublime in art most extraordinary stone (Baudelaire docet), but ready to become dangerous boomerang in the trite and desolation, when not adequately supported in genius. Cenalora deals in this space-time early years of a delicate subject and necessary ritual rooted in anthropology, daughter of disturbing reports on the cannibals of the Pacific or the horrors of tribal-eating corpses, and rooted in the theater, which has taken since the beginning language of provocation, to express something very close to the ancestral soul of each. Novecentro in the cinema with his deep bond mediation of the assembly and the screen is appropriate of this language, turning it into emotional subject in some cases very powerful, paradoxically more powerful than the scene alive. The famous film critic Grmek Sergio Germani, director of the festival in Trieste of a Thousand Eyes, hath been paid to a comment jurisdiction with regard to the ratio of absolute scene-picture film, with a strong open and courageous vision never hidden the means of expression and communication. Moreover, the recent edition of the Festival has presented an exceptional program on these issues. "It's hard to decide which of the two mediums including, for the viewer the greatest degree of physicality - says Germans - ironically play the body, alive and present, will make it easier on the brackets scene. This is not a movie, where the body can not or will not need to escape the gaze of the camera, so the cinema is now the art of real bodies. In our review we tried a parallel, alternating moments of the film in which the living body is present. But the film, in our experience, allows the living body and its emotions to be explored in more detail and to endure. Has been memorable, for example, the projection of the incredible film - a documentary filmed by Japanese sculptor and video artist S. Tajiri and Ole Ege to the Danish Bodil Joensen porn in 1970, "A Summer Day", a classic of European pornography, and we presented the first window Italian Festival 2007. Compulsively provocative image in its raw subject. The audience at the end of the vision was still room for more than five minutes, noting the silence and stillness with the strong emotion that persisted embarrassing. "The living body to the theater we saw it but a couple of years ago to Crt during the performance of the Greek choreographer Apostolia Papadamaki. Who was this was testament to the strong emotion in this room, in front of the naked body and offered to the audience without mediation, overwhelmingly 'himself'. adjourn welcomes these reflections, which repeats constantly, some obscene that the issue represents a cornerstone of the current interpretation of the theater and -involutions its future developments, and its strong and difficult but obligatory relationship with the medium of film.

Caielli Roberto - Director of Cenalora

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EXPLODING IN THE BODY OF THEATRE EMMA DANTE

Flavia Cardone

"The theater is obscene," ruled in the past a Carmelo Bene. That's all that is happening on the stage outside the stage, away from the common sense of decency stage; here, often as the fourth side wall, a body that explodes and implodes, manufactures and holds, carnalissima indecency that you can not hide. Meanwhile, a soul is to be disposed of flatulence and the rest is just meat goes bad. All this has something to do with the scene of Emma Dante, was just loving the idea of \u200b\u200bArtaudian memory demanding that the viewer wants to be killed, and be killed. Cream, gravy and piss showered bodies and scenes of Good, while the public launch of the Tombo Dante nude peanuts and his dog dined bank elegance without bread spitting everywhere. But the fourth wall is always wonderfully open, even shattered, with the fetid smell of dirty clothes that you should wash your family to spread everywhere.

The words "stink" and "filth" occur frequently in stories that Emma is about his theater, made up of stories that do not have any provocative intent, if anything liberating, giving birth to daughters with extreme urgency, wounds to be delivered to the world so do a little 'thank goodness. Seem to care to respect its ability to be violent, perhaps simply because it is life and theater, he liked to believe this to Artaud, like dreams, is bloodthirsty and inhumane.

Blood, semen, vomit, sweat of Dante, the theater is theater of the things that the body generates - not surprisingly, even the word is never spoken but always generated - theater sexual and sensual, obscene visual primordial needs and respond to heart-rending. All that exceeds and breaks down the barriers of the body seems to be of interest to the Dante and his scenes of lyrical immorality, Dionysian scandalous, tell it.

through the rooms of the building that his grieving families embody, are seen in the ranks of a procession, a clumsy man who vomits cakes, a bride already pregnant, a child who masturbates his father, a monkey eating communion wafers and says Mass A man dressed in women, a tragedy where the chorus of women is made up of men, a dozen mobsters who masturbate joyful. Almost a scene of "slapping and sodomy," as stated by Sarah Kane. Where's obscene in all this? Certainly not in the genitals and even produced in the tale of a sex uncertain, but in some ways awkward, vulgar, Dante charm with which defies the laws of nature and the shame and tries to annoy his audience. But there is never an element in an obscenity that does not appear to be functional and dramatic scenically.

It all seems very very noble, but it is. And it is so difficult for themselves, that all this unhealthy can not blow out. In Carnezzeria incestuous sperm impregnates Nina while Toruccio seems to play the horse but in reality the scene, and all that ride in the legs and sweat dripping, tell of a father who is masturbating: obscene is unhealthy that is within the "sacred" family, festive lights are obscene that illuminate this hell. A naked man runs then, a monkey on stage and upsets the idea of \u200b\u200bmass, leaving others to discuss whether this is sacrilege or pure animal instinct, but the scandal de The monkey spinsters who are brutalized swallow rosaries as they do with words and suggested to put in automatic, you can draw upon the cross. Then there are the dogs sperm bank scattering excited by an Italy capsized, Sicily, above all, has earned, orgy of power where the seminal fluid disrupts the orderly grid of thoughts, geography, arranged in a row on the holy stage. Also cover their faces, snaps of their sex that goes up and down can not be do not listen, and madness of those who see in the Mafia and pretends not to see, certainly not in reconfiguring the Our Father including his mother, and female mafia bitch. That the theater belongs to Sacher Masoch, think Romeo Castellucci, and perhaps rightly so. Through all these, the food is always gobbled up with little grace-i pastries mPalermu leading to the miracle of water, bread Dogs bank, almost a victim for the ritual of the division of powers, the peanuts de The monkey according to a kind of obscenity law in the instinct that drives her daughter to see Dante. Floods and sex scenes, obscene as excess, obsession with the sign reversed. Reminded of the words of Baudrillard, "the feminine is always elsewhere, in the matriarchal stage of Emma. Powerful as always there where it is thought to be, violent push to weaken the sexual categories, uncertainty principle, by definition, the feminine is not a sex but as a soft form that passes through them all: If the male is only a residual , must defend itself, showing strength, then hiding weakness. This is why the three brothers Carnezzeria childhood photo in front of where one of them seems to be a child be violence, unspeakable efforts to escape the female chorus of Medea and the fact that men dressed as women. Above all, then Mishelle of Sant'Oliva . How else would like to Freud, because the anatomy should be the fate? Or maybe it is, and to chase a mother vanished in the past you have to go against, dressing, undressing, dressing up. The desire that exceeds the body and its contours as well.

All this just to say that there is nothing that can not be represented in the theater, where cross imaginary hell, with nothing ever matches, players and spectators. No pornography, no obscenity: you do not offend decency, the only challenge you with a sacred, profane violence.

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The dog Habacuc and the language of performance

Laura calabash

That dog of William Vargas Habacuc (Bienarte 2007) is dead or murdered because of his fleas, which has been bought by some street kids, who has been secretly cared for or abused, that has escaped and is now resting on the lakeside of Managua spent maybe we'll never know.

Bienarte in October 2007 (Costa Rica) opens its doors: the event would have been echoed internationally relatively limited if it were not for the presence of a dog dying, tied beneath a mural of crisps, and according to some agencies print left to die amid the indifference of the audience. Quick images of the opening travel the world, blogs are unleashed, they raise their associations. Until someone raises legitimate doubt as to whether it's a fake. But the stone is launched.

You leave a painting on the sidewalk because it reminds Renato Curcio, but the performance gives rise to something different. Immediate and unique, the performative act, beyond the boundaries of which, it strikes. A powerful and even self-destructive upon which we can not continue to ask.

Any theory of the theater is a need to define a language and purpose are able to trace the outline of his idea of \u200b\u200btheater. These choices have much to say about the society that created it. Probably the negotiations that concerns us is unfathomable to us but that does not prevent us from repeatedly ask what are the means of communication available to the theater today, and where is the border that delimits the confini.Della communication, we know that she lives alone time to be strictly necessary. Once this threshold its wings impalpable crumble silently to throw in the incessant buzzing of grayness that envelops us, in industrial quantities of sequins, bright ground blades which have lost all power incisive. Sharp instruments, outrageous, ridiculous ... In scandalized you feel alive, other than when you spend hours mesmerized in front the long legs of a million soubrettes, parading on your home television. Yes: because the destruction always save the man, like Christ on the cross! That is a myriad of small grandchildren of Artaud experimented on us their knives thrown haphazardly. For a good cause: to wake up from slumber. Too bad that now, on our skin shine like you can skate on a frozen lake. Yet talk is simple and ancient as baking bread. Traditional methods of essential basic ingredients, however, assume that you can not do without. A reason to become receptive and want to get really involved, are water and the flour from which you can invent any kind of genuine interaction. Without it, the theater will not exceed the degree of reality of a speculative bubble. It takes a real, necessary power for the freedom of a mental space can converge in a common area, and lick the boundaries within which everyone is condemned.

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SCRATCH THE SOUL THE WORD OF THE ICE

Etymology of provocation, in the shadow of Testori and Artaud

Serena Mola

What is / causes us today (in the etymological meaning of the verb, pro vocare , call out)?

The Woodstock '68 and have gone and some clearance "of costume "already have it taught, she has run, more or less liberated, the society has more or less modernized, we got rid of Croce's aesthetic, and therefore we anocra there, related to Plato's dilemma body and its sensuality.

We are constantly "stirred up" from this point of view, theatrical and ... but we are sure that there are enough still naked bodies, swearing or other gestures more or less unusual?

Unfortunately, or fortunately, there are two elements by which he lives the challenge today, those from which came the obscene. Two things, however, become a alone: \u200b\u200bthe body, which seduces, witch and scary, and the word, which communicates, pervades the world, the colonized.

If the body speaks, the word is embodied.

Without going into the body that speaks of provocation, which could make us fall into the tired and bored already said moral / moralistic, we consider the second aspect.

The worst treatment of word-body is today one of the spoken word television and mobile phone of the written word: the former is a body of vocal and verbal development is sacrificed in unlikely combinations in gruesome and verse , noise, almost. In the second case, however, the word is raped by blows of k falls vowel, and only thus, acronyms in felted dell'ostrogoto who enters a text message to 120 characters, all sharp and angular.

pointy and angular but also the word is truly cruel (with a capital C) and provocative, that of Artaud's Van Gogh that swallows the first color of "vomit" on the canvas, that Artaud himself conceived and perceived by lightning, bumps (almost presaging his martyrdom all'alettro-shock) in the brain, one that builds Testori and kills as the body of Adriana Innocenti on the scene.

Artaud and Testori.

1924 and 1969.

Ombilic des limbes and Herodias.

Nearby Duea this respect are among the eclatanti.La word for both body is made of ice for Artaud it is a flowering glacée, with all that this entails sublime image, rather it stems from Testori to shatter the ice wall between stage and audience, between writer and actor first, and then between actor and audience. Both believe that this disruptive force, already within us, it appears urgent flesh in the form of the monologue, be it opera or theater.

This is the cruelty, the real one, this provocation that tightens a lump in my throat and makes eyes water, the obscene that this makes them close you eyes. We hope then that this ice does not melt.

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OBSCENE AND THE POWER

Sisto Dalla Palma

The theater is located at that point where the deficiency concerns the body expression, the presence, the experience of others, dialogue, the report face to face contact. As we evoke the virtual community, networked systems, we introduce elements of agglomeration, stimuli and signs that meet real needs, but where the answer is devoid of those elements of body, imprinting individual or group that we recognize the theater.

In the face of despair and loneliness, adrift of the subject, in a society that guarantees a flood of stimuli and signals, but then let the person become a victim of this redundancy of signs devoid of affect, in front of this , I said, are generated counterthrusts. One is the virtual community - it is worth noting that the term "virtual community" is an obvious oxymoron - the other is one that affects us as a discourse on the theater.

Which stage are we talking about? It seems to me that in the parable of a generation or two there are were within the institutions, movements, adjustments, balances with respect to pressures for change. In parallel there was also a reinvigorated rigidity of the system, which is deluded and often offer significant responses such as the Neo Baroque dramaturgy Ronconi and the radicalization of spectacle and a disturbing erosion of semantic fields capable of expressing an ethos. So there is a drain on resources, a reinvestment of these resources in a practical alternative, but in a competitive practice than spectacular imagery daily. In reality, this evolution is the mimetic habit of repeating the competitive pressures in the theater with the media. While the problem is to restore the theater as the difference and how widespread divergence from the spectacular and perverse.

The large block institutional evolution has had a quite disturbing in terms of political structures: the control of lobbyists, power equipment, short circuit between politics and culture, the possibility of such centers of power, influence and guide the new formations and then draw into the vortex also institutional marginal groups.

marginal groups, the avant-garde, all those who have or have experience of change, what they revealed? Revealed essentially a sin to have been so say the eye of the basilisk, that enchantment that is the expression of a weak thought, inability to oppose the dominant culture, with a project that really alternative, making it subordinate to the logic of power. The importance of the aesthetic and formal and, ultimately, the last excuse of the disengagement, the system has decided not to adopt a strategy and overall policy. The experiment shows that in crisi.della microphysics of power, of which each group makes its way to the bearer, this is not to be, but there. Barnun be in the great cultural institutions, efforts in the enjoyment of political and administrative centers of initiative, in that great party bands that are the White Nights, Roman nights, the summer festivals that is repeated so indecent practice of "bread and circuses." Is obscene, literally, what has to fall off the stage, sheltered from prying eyes. But today is the scene that has become, or same-scene, with no distinct lines between public and private, discreet and indiscreet, between modest and immodest. The epic of the singularity and self-sufficient closed is where you transfer the silence of the world, the delirium of desire, subjectivity abounds. The triumph of the self generates an image of the scene, her self. I do not give an assessment of an moralistic. The power-breaking everything.

(from beyond the theater of the margin, in "social entertainment", text by A. Pontremoli)

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BIRTH (and death) is better obscene


shareholder Viennese violence grammar
Diego Vincenti

Violence (and obscene) drama. Meat and word (over) exposed vehicles to be handled with delicacy, between instrument and mere provocation. But if the word has almost been cleared thanks to the narrow dimensions of the medium (think of the difference between television programs), reading a strictly physical / aesthetic opens on complex and diverse reactions. Perhaps only the action gave Viennese these two words, the force of being manifesto, the ability to escape the meanness in the performance of the gesture, the free poietic (not theoretical). Boundaries blurred those in which they moved Hermann Nitsch and friends, in the quiet Vienna between body art and happenings, Fluxus and emerging performative acts. At the time (we are in the sixties), I move the center of the structural and formal representation to the body, it became an aesthetic-political in a consumer society already well underway, low blow to middle-class mentality and in your own household (be ). The game was screaming, no rules, you had to bet heavy. And the choice of the Wiener Aktionismus was dirty (literally ...) hands. Self-mutilation, animal sacrifice, bodily secretions, sex: who wanders the Mumok the Austrian capital, has a chance to see how everything was put back on the scene through the whole. In comparison, the walk to Valie Export in 1968 with his friend Peter Weibel on a leash, seems almost like a college prank (and is indicative of how it was tested the same town indifference to Bologna in 2003). The unacceptability of the common artistic choice is in itself a silent victory of a "drama" istituzionalizzatasi slowly into madness. After the young death "via window" of Rudolf Schwarzkogler, appearances around the shareholding in the neonate OutOff 1976 was one part of the same phagocytosis caused by the provocation - the act becoming part of a scenic circuit and intellectual elite (despite leaks, fainting spells and sleepless nights: Nitsch particular made of lamb intestines and genitals of the model and similar amenities) - the other sign of a drift mystical / idolatrante that while aimed at specific actors in the (non) movement, seem to mark the way for studies to investigate the limit (in) cross. Concept among others at the base of the same shareholders, who had in the "showdown" (physical and psychological) on the last act of performing in proof quality. Heritage rough and difficult, is reflected more in performance in a theater still closely tied to the classical sense. More than a one Yasmeen Godder Rodrigo Garcia, despite Matar para comer and difficult relations with the lobsters. But it is a question of quantity, not quality.

Physiologically elite (and intellectual), the theater suffer poor circulation and thus leads to a rationalization of the use that is ill-adapting to the visual responsiveness of skin contact. The eye is the vehicle of a neighborhood exasperated confusing, painfully kept at a distance from ritualization. Different (but still very few) cases where the language becomes violently obscene, the now rare generosity of the gesture, even when the press shows in these terms. It is perhaps this aspect that has over time become dramatically more peculiar: the violence is now grammar, the only category of obscenity trial of the beholder, to which public and spectators are otherwise (in) different. Sensitive to the provocation, the category of trial collapses miserably in the game play goal of the action / reaction, suddenly slipping (in the minority) to the universal characteristics (Kantian) that originally did not belong. And here we return to the Shareholder. To the dominant culture and petty-bourgeois. But in a city (and country) that still closes exhibitions and censorship programs is extended speech and painful to do in a low voice.