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'NZULARCHIA THE FACE OF THE SURREAL AND UNEASE CAMORRA

From May 27 to the Art Theatre's award-winning show Borrelli and Cerciello

'Nzularchia is an expression that stands for jaundice, jaundice, yellow fever, but its significance is also due to afraid that when it is particularly violent, seems to cause these diseases.

In a stormy night, Spennacore - a racketeer for years forced to stay locked in four walls - is around restlessly in the room of his prison-house. His presence is felt only for the sound of footsteps and that makes the voice that sometimes sounds threatening, with the fury of rain and wind.

In another "place" of the house - right from the start that takes the form of disturbing memory space removed - are holed up Gary, a man of about thirty, and Piccerillo, son, brother, friend, or simply personification of memory, the brutalized childhood, and perhaps never lived.

And it is the continuing confrontation between Gary and Piccerillo to trigger a painful and overwhelming process of reconstruction of memory: a psychoanalytic journey in a surreal environment, able to conjure up ghosts of the past and put together the pieces of a ' torn from the nightmare of life indelible a tragedy that leaves no possibility of salvation.

Gaetano, in fact, feels he must avenge appalling abuse of power, of having to get rid of a father and jealous murderess, who has deprived of a mother and a brother never born, but above all, has to heal from the "fever" of fear, by the parent with frightening inoculatagli initiations, physical and psychological violence, which find in water - the sea like that of thundershowers raging outside - a recurring motif.

As in a yellow, dissolution comes, in all its drama, only in the finale, when the veil of oblivion - frighteningly - Is torn to lead to a tragic and, inevitably fatal conclusion.

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Holophones VIDEORICERCA

The crew of Crit, Centre for Research and Technological Innovation of Rai, led by Dr. Scopece, has experienced the exhibition, as part of an agreement with the CRT, the microphone holophonic, which will enable revolutionary relationship between theater and video. The experiment took place during rehearsals of The license, Claudio Autelli, and used a Sony HD camcorder, for a particular definition, and especially the holophonic microphone, a microphone, "panoramic" able to grasp the depth of all the sounds from an environment. This tool could revolutionize controversial relationship between theater and video, as it is able to reproduce a realistic atmosphere of a live theater. We report following an exhaustive article by Dr. Scopece, Electronics and Telecommunications from the magazine, No August 2, 2007, from the site of CRIT, www.crit.rai.it.

Holophones, a sound recording of everything that surrounds us Leonardo Scopece by Electronics and Telecommunications, No. August 2, 2007

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EUROPE AND THE ART THEATRE

Sisto Dalla Palma (text collected from Ida Senoner)

When I think of Europe not a dream, a horizon where we can not reach a real involvement, as if Italy was a enclave separate and distinct from the rest of Europe. Moreover, even in Europe, some fundamental choices become the responsibility of large bureaucracies. I believe, not to be abstract or general negative attitude about this, that the reference point that we have in mind is that of a country where theater really matters and where the theater is done, you measure in new, strong all-pervasive in companies with the ability to stick really needs. It seems to me that this is all in all the Anglo-Saxon model in which more and historically there have been attempts to put a wall between politics and culture and to ensure the autonomy of culture and theater.

Through the international network we have entered the most significant moments of our production, particularly that of Emma Dante, from "Carnezzeria" to "Dogs of banks" to "Scimia" that toured France, Spain, Netherlands but also in South America In any case I think the international connections demonstrate not only that there are areas outside of the whole texture, but in some cases it is easier to stay abroad, out of combinations of logic trade and moving in a perspective of absolute autonomy of art and cultural options of the various directors

All our products (and I'm talking about a number that is among the seven, 8:00 to 9:00, over two years), all contemporary drama. This classification is an element of some 'extrinsic. I would say that we are less interested in autonomy of the text, dramatic literature and theatrical works that are more an expression of a drama group and an ensemble. This, for example in the case of Emma Dante, I think that is absolutely obvious. But in addition to Emma Dante Autelli we presented, we presented Facchetti, we worked with Mimmo Sorrentino, who was not present with a general text, but developing a collective moving drama schools of the real problems of boys. And this is a subject that should be taken into account, because it exceeds the old logic of the author locked in his old tower of ivory, in his workshop to prepare literary texts, but rather moves in a direction of a network of relationships reports in which the land provides the drama and theater of experiences on which to work and turn and lead to representation.

In turn, the theater is able to break into the territory, returning emotions, experiences, values, expectations, problems that the territory, the school have the courage to express. From this point of view we are just working on a training project for actors, artists in field of social theater that will be able to intercept these experiences and that you put in the perspective of group work and social theater.

But what is possible is to build a collective entity capable of writing system to be connected immediately to the grassroots.

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IT'S HEAVY ...? Voyeurism

Laura calabash

In a world where everything is performance, performance is everything, it is so difficult to disentangle from full vacuum, the fake from the real ... down from advertising hoardings and challenges us to make us laugh, think, and sometimes exceeds itself. Yet it happens to feel like dry leaves, without hope to regain thickness rassegnamo us to ruffle a bitter laugh on the fate of political, social and cultural aspects of our humanity.

The story of Pippa Bacca and Silvia Moro has launched a kick to the resignation, while a revolver at the temples of optimism. A chance for redemption, a gasp and then a moan, maybe.

Two artists wearing wedding dresses, and treating in detail the media coverage of the event off on a hitchhiking trip through the Balkans, recently plagued by violent conflict, and then to Palestine. A madness "something a bit 'by girls," said his aunt, interviewed after the disappearance Pippa Bacca. Yes, because despite media coverage of performance it was, there was none of tricks, which is incompatible with our imagination nourished reality. The sentences dreamy confidence of man in man, now freeze even the eyes with which we read.

Now everyone will be able to give vent to the defeatism that always equals itself, it swallows every trace of life on its passage. We will return to the warmth of a newspaper without effect, which will continue to complain endlessly, satisfied with our eternal dissatisfaction ...

A sea of \u200b\u200bsqualor in which a disarming performance and incredible intolerably true exaggerated and "inversely proportional" to the canons of our non-being, it appears as a red mark of salvation.

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tactile reflections on the eye it touches, from Voyeurism tactile, visual and tactile aesthetic values \u200b\u200bof Maddalena

Alessia Gennari

Voyeurism tactile, that is, when the eye loses its intangible and immaterial dimension you touch, contact, involvement and full penetration. When the use ceases to be a distance "vision" becomes a groping and pushed the limits of the permissible. When art gives way and "touch" through the eyes, every fiber of the body of the observer.

The "touch voyeurism" as a category of the enjoyment of contemporary art Maddalena is the view taken by Mis-Mazzocut in his essay Voyeurism tactile, visual and tactile aesthetic values, published by The Melangolo in 2002. In it, the author takes a journey through contemporary art, especially of type "performative" in search of an answer to the question of whether or not we can still talk about art in our time. The answer, obvious, is that art is certainly still alive and that what has changed is not so much (or only) the aesthetic paradigm, as the fruit.

reflection of the author uses an important theoretical framework, which refers to aesthetics, particularly in the eighteenth century, and theories regarding the relations existing between the two directions in play: the touch and sight. First stop, the discussion of the note issue raised by William Molyneux in 1693, which opened one of the biggest debates in the history of philosophy (still unsolved), a blind man who has learned to distinguish, by means of touch, a sphere from the cube, may, once restored, to distinguish the two forms using the mere sight? Sight and touch are therefore complementary bodies or each of them acts overwhelming cognitive abilities of the other? If you can talk to the blind, in fact, a dictatorship of feel that, in cases of recovery from blindness, often makes it difficult if not impossible, to adapt the functioning of the sense of sight, in the sighted world there is a back view of the dominance over the other senses, rather than coming to the physical and then placed in the lowest rung of the hierarchy. And if having a dialogue with the beauty, indeed, is the responsible way, touch is rather entrusted with the management of relations with disgust, feeling far more speculative physics.

Contemporary art comes to rescue at this point touch. Triumph with their naked bodies, their sections exhibited, their fluids (blood, tears, semen, sweat), their miasma, sensations, pain, horror. Triumph for the physical (Defined as volume, weight, size) wins and a use of proximity (that of touch), to the detriment of the distance prescribed by the glance. Restore dignity to the touch is cognitive and not only: the most authentic vision of lies, just by touching it captures the truth of physical reality. Not that contemporary art is to touch, rather than to see. It is the view, rather, on whether to incorporate the use of tactile features: proximity, contact and, above all, loyalty.

The enjoyment of contemporary art is in fact a use "in detail" observed parties, special areas, the eye acts like a hand probe progression surfaces without being able to grasp the entirety. A detailed view, then, that lingers on the especially rough, in a voyeuristic: the morbidity is not only justified but actually required, the private sphere of the intimate and powerfully enter into the eye of the viewer, who can not help but touch , not "hand" but rather "eye", the object dissected before his eyes. It is precisely this "fragmentation" is the secret of use: we can tolerate some expressions of contemporary art, the most extreme and painful, just because the face "to groping, groping here and there and experimenting with the look alone senses, emotions, passions.

different from the simple mode of touch, that should also be redeemed and should be reconsidered in its role as a "poor relation of sight", also different from a simple haptic mode, the touch-voyeuristic feel combines with the eye, how use of incremental and fragmented, with an attitude of participation of different ways, with an involvement which is prompted by the same physiological rappresentazione.1

For art to be touched with the eyes.

Mazzocut 1-Mis M., Voyeurism tactile, visual and tactile aesthetic values \u200b\u200b, The Melangolo, Genoa 2002.

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gaze: definition, synonyms, antonyms


Serena Mola

Write on the look in the era of the image, mystified and mortified, abused and taken for granted, and having forgotten quickly is not easy, rather difficult and potentially very fruitful, as everywhere underpinned by moralistic traps, by trivializing underlying traps and so on. For this reason, you want to programmatically here to propose a "No more half-seasons" fell on the theme of the gaze, "yes was better when it was worse that builds on some of the most important literary and artistic experience from the Middle Ages to the present: all this with the sole purpose of cooling a bit 'memory, and why not get away from the glossy images of bloody or from which we are already overburdened, like it or not.

The game is simple, just open the dictionary, even the vocabularies and be transported by the evocative power of that strange but true, the aseptic lemmatiche definitions and suggestions synonymic go to him who only knows, not surprisingly, look beyond the encyclopedic classification, the taxonomy of speech, a strict alphabetical distribution.

This opens up four roads associated with exploration verbal retrospection is immediately historical, cultural and literary.

The very first definition comes to look like the act of looking : interesting use of the word Act, which gives this habit now a load of automatic and unconscious intentionality. The practice of observation is thus compensated and dignified, as if to pay homage, many centuries later to a 'time when the look was one of the most popular relational events and more valuable, if not the most valuable. The Stilnovo. Guinizzelli wrote in mid-'200, The your beautiful greeting e'l gentle gaze: the eyes in question were obviously those of his beloved, if only the poet turned to seizing, inflicting painful throes of love, making the slave woman (remember, it dominates).

value and the same, spelled differently, the same drama will return six centuries later, we are no longer in Bologna in Paris but soon dedicated to the metropolis. The lyric this time I was Charles Baudelaire, the woman also known, a passer, an atom of the crowd. From this emerges the glamorous female presence to the time of a love-at first as it had been one-Guinizelli but at the last look, and from which, a moment later, he anonymously reinghiottita. The power of the gaze, however, is identical, it is a spell that gives instant, and at the same time suicide all'innamorato: dans un oeil ... the bundles here douceur et le plaisir your here.

addition to the precious, therefore, in this first overview one can not overlook another feature of the eye, which, in effect, is suggested by the second dictionary definition, the lightning. At no 2 reads: look at first sight, at once.

If you go to No 3, the view changes completely, because the definition states: look that expresses a mood . The emotional just announced us from loving feelings, already widely explored, and leads us to two rather distant experiences, historically and culturally, but animated by the same intellectual tension, by the same force poetic, imaginative and creative: on the one hand, we evoke the look Don Quixote, which has the power to transform the world around him, to see the windmills valiant opponents to fight and a housewife all the princely Dulcinea, the other a look castrated, prevented, that the Leopards forced behind the hedge. In the first case the view is imagined in the latter only conceivable, but in both it's like, and more, if that were true.

The third stage, this time driven by the use of synonymy, it makes us think of the voyeuristic and morbid degeneration of the eyes, in reference to the suggestions: watched, peek. In this regard, the examples (in the first instance sets), much less noble precedents could really wasting, we want to mention Etant donnés, a work by Marcel Duchamp consists apparently of a wooden door, but instead was defined as "a device for peep pictures." Two holes is observed in fact a room, which in turn is an appendix to another room with a kind of window. Beyond the opening of the wall, lying on a pile of twigs, you can see a naked woman, holding one arm a small gas lamp lit, while in the background lit by a dim light, sets out a vision and exact real a picturesque natural landscape.

Finally the contrary, even if the dictionary in this case gives no indication, however, think you can look like the opposite of blindness, and dedicate these words to the legendary blindness of Tiresias. In fact, he received it as a sort of punishment of retaliation for his having granted a voyeuristic delight. In this punishment, however, was given some sort of mitigating or aggravating according to points of view: lost sight "sensory" experience the prophetic, oracular.

It is said that the game is better when it is short, then stop before they are fed up: the dictionary definitions are finite, so these ideas.