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Su una civiltà esausta
If " the writing of the disaster" describes the idea of Thought as something impossible to translate into visible signs with a consequent impossibility of transforming it into words, in “Marble” , the company took another way, where the IRREPARABLE is the essential feeling linked to the idea of the disaster. It is this idea of irreparable that is taken as a starting point to begin to write the show.
The word “irreparable” seems to hold perfectly the idea of Disaster described by Blanchot. Therefore, we started from this fundamental feeling to recreate a particular landscape used as a background of the show, found in the decline of a civilization.
And we realized that it is the contemporary civilization, with its anxiety, to pervade our life with this feeling of a persistent chipping. Thus, I reminded some words from a text by Emile Cioran, "the temptation to exist", a chapter devoted to a dead civilization, the Western one.
Made up of images and landscapes where the word emerges and disappears, still far from a necessity to talk to each other, the stage is full of lonely figures whose the only comfort is their own humanity.. >>>
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When we first heard about the incredibile history of Nikola Tesla, it often came to our minds that we could be dealing with a sort of urban legend: how was it possible that the man who created the first power station of the world by harnessing the Niagara falls, would be a complete stranger and would be left in a corner of the scientific and human history of the past century, century of which he surely was the protagonist? It didn’t seem to contribute to the fame of the Serb scientist the fact that he invented the three-phase system of electric power distribution that we use nowadays to fuel our industries and our houses, and that he owned the patents of the first alternating current motor and of the first appliance for radio transmission (until the sensational recognition, in 1943, from the Supreme Court of the United States, of the authorship of the invention of the radio, to the detriment of the Italian Guglielmo Marconi).>>> |
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| Just Intonation |
Let’s start describing what the audience can see: the scene is lit up by darkness; thin layers of rarefied mist rest at head height. For the occupants of the higher stalls, the mist and the instrument overlap. Unlike the people in the first rows for whom the scene seems to be divided into two levels. The searchlight perpendicularly originates a narrow pyramid whose base perfectly corresponds to the square base of the harp. When talking about “harp”, I mean the metallic structure which holds together the strings of a broken, even mangled, piano. You’ll come across this word many times in this paragraph. The harp, which is originally placed upright in the body of the piano, is now placed on the ground. >>> |
La natura come una macchina_di Franco Cordelli_Corriere della Sera Just intonation. Masque Teatro e l’alternativa_di Simone Nebbia_Teatro e Critica L'intonazione kafkiana del corpo_Sara Baranzoni_Artribune |
| Head VI |
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| Il ragazzo criminale |
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“An obscure and violent performance where the disgust coming from dirt and darkness praises doubtful prisoners who end up being treated like saints and framed in the cold architecture of their prison as in a blasphemous polyptych”.. >>> |
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| Davai |
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Fire or the abandonmentOne of the major themes in ‘Andrej Rublev’ is that of leaving. The progressive lost of the artistic action as well as the constant changement, the mild resignation to the changement. In this sense, fire is what brings along abandonment and makes force turn into weakness since, as Tarkovskij says in Stalker, ‘weakness is power and power is nothing’. >>> |
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| Postanovscik |
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…experiments, facts, truths, on the last appeal. But there are no facts here, less than anywhere. Here everything is created by somebody, it’s the foolish idea of somebody, how can’t you realize that? And you must know whose this idea is. But why then? |
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| Improbabili previsioni del tempo |
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| Nur Mut |
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Red is certainly the most suitable colour and the person in charge is informed of it. The rest comes by itself. The centrally located machine follows closely. |
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| ES_mostra fotografica |
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| Meccanica Anima |
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| The Decision |
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Loosely based on “The Measures taken” by Bertolt Brecht Masque teatro decides to start from” The measures taken” by Bertolt Brecht, one of the didactic plays of the famous German playwright and director, to dig into some main themes loved by the company from Forlì: the alienation, the diversity, the oppression. The theatre of Masque lives of isolated figures, who embody solidly some concepts. At the bottom of this new work, presented in the form of a first study, there is a “control chorus” which represents the image of the spread power that judges continuously and, most of all, makes perceive his perpetual presence and that changes in a monolith in the show, a wall that cut all the scenic space, emerging as a constant and impending presence. >>> |
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| Il Presente |
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Il respiro del tempo_di Sara Baranzoni Corpo peso respiro_di Massimo Marino |
| Pentesilea |
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The play is freely inspired by the work by Heinrich Von Kleist and reinterpreted through the book “Anti-Oedipus” by Gilles Deleuze and Félix Guattari. A White Adult Man. Under pathological condition. Genetically inclined to be a Natural Born Killer. “It is at work everywhere, functioning smoothly at times, at other times in fits and starts. |
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La macchina e l'umano. Pentesilea di Masque teatro_di Lorenzo Donati_Altre Velocità |
| Materia cani randagi |
“Materia cani randagi” draws inspiration from the work of Carlo Michelstaedter. In particular, “Persuasion and rhetoric” lead us in the universe of the unfinished, of the interrupted movement, of the impossibility of finitude of the act of creation. |
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| Omaggio a Nikola Tesla |
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| Eva futura |
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| Coefficiente di fragilità |
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ROUTE |
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| Prigione detto Atlante |
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| Seleniazesthai |
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