The house of 'clay written and directed
Lisa Ferlazzo Natoli
stage writing collective
with
Monica Angrisani
Antonia Maria Valentina Curatolo
Tania Garribba Lena
Alice Palazzi Anna
Paola Tintinelli Agnese
scene e costumi Fabiana Di Marco
luci Luigi Biondi
musiche Gabriele Coen e Andrea Pandolfo
suono Fabio Vignaroli
fonico Francesco Bala
foto Sveva Bellucci
note
Argilla, roccia nata dal fango, bianca e porosa, terra friabile pronta a sgretolarsi.
Casa, luogo parentale, abitato da fantasmi and memories, and penetrates from the outside, for the cracks in the walls, the air full of magic.
House emitting voices wailing, dripping water and distant sounds.
Only a long, narrow table, and around five women, six chairs. Internal to look like from a keyhole, close-up a horde of women.
Four women have just come back, the fifth of their location, perhaps called them. To assist the dying mother? Or to remember? But it really is the mother in that locked room? It 's just that she is dying?
How was food, after a long abstinence, women consume and devour images and stories, desires, resentments, childhood memories and obsessions, while cracks in the night the day and night in the dawn, the time of white clothing.
That table, like a mousetrap, and exposes the body produces mutations: abnormal posture-shoulders, profiles, only the legs and hands as dismembered limbs; unexpected spaces-under the table, above the horizontal plane as a field to explore, time-memory mobile holes, unstable between past and present. Pretenses and misrepresentations volunteers.
is a death and a death vigil to vigil, the body is resistant, has a voice and smell, he insists on not wanting to die. It engages a fight with the dead, in an intimacy wonderful and terrible, shelling, on the rosary as a family, an inventory and a count of the dead, a calendar of early school leaving. The vigil
about to die, and l'essere vigili, è una soglia e un tempo di mezzo, ricorrenza tra le morti, che sostituisce al coro antico dei lamenti una festa di corpi di risate e di canti. Si celebra il defunto? O la vita che resiste? O è una festa d'addio?
La casa d'argilla si è scritta sui corpi delle attrici, intorno ai temi della morte del luogo familiare e del desiderio, producendo biografie e mutazioni, sdoppiando e sfocando le immagini, come in una foto in movimento. Un gioco di assonanze e rimembranze in cui i testi fossero tracce suggestioni, affetti per esplorare il linguaggio di un corpo-coro parentale.
"Quanto più allontano il mio cuore dalla casa d'argilla in queste notti spazzate dal vento e dalla luna, all the more happy I am ... "Emily Bronte
foto Sveva Bellucci
note
Argilla, roccia nata dal fango, bianca e porosa, terra friabile pronta a sgretolarsi.
Casa, luogo parentale, abitato da fantasmi and memories, and penetrates from the outside, for the cracks in the walls, the air full of magic.
House emitting voices wailing, dripping water and distant sounds.
Only a long, narrow table, and around five women, six chairs. Internal to look like from a keyhole, close-up a horde of women.
Four women have just come back, the fifth of their location, perhaps called them. To assist the dying mother? Or to remember? But it really is the mother in that locked room? It 's just that she is dying?
How was food, after a long abstinence, women consume and devour images and stories, desires, resentments, childhood memories and obsessions, while cracks in the night the day and night in the dawn, the time of white clothing.
That table, like a mousetrap, and exposes the body produces mutations: abnormal posture-shoulders, profiles, only the legs and hands as dismembered limbs; unexpected spaces-under the table, above the horizontal plane as a field to explore, time-memory mobile holes, unstable between past and present. Pretenses and misrepresentations volunteers.
is a death and a death vigil to vigil, the body is resistant, has a voice and smell, he insists on not wanting to die. It engages a fight with the dead, in an intimacy wonderful and terrible, shelling, on the rosary as a family, an inventory and a count of the dead, a calendar of early school leaving. The vigil
about to die, and l'essere vigili, è una soglia e un tempo di mezzo, ricorrenza tra le morti, che sostituisce al coro antico dei lamenti una festa di corpi di risate e di canti. Si celebra il defunto? O la vita che resiste? O è una festa d'addio?
La casa d'argilla si è scritta sui corpi delle attrici, intorno ai temi della morte del luogo familiare e del desiderio, producendo biografie e mutazioni, sdoppiando e sfocando le immagini, come in una foto in movimento. Un gioco di assonanze e rimembranze in cui i testi fossero tracce suggestioni, affetti per esplorare il linguaggio di un corpo-coro parentale.
"Quanto più allontano il mio cuore dalla casa d'argilla in queste notti spazzate dal vento e dalla luna, all the more happy I am ... "Emily Bronte
