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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.