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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