DIE // SOUNDS GOOD!
first approach to Mozart’s Requiem
original collective drama Codice Ivan
production Codice Ivan
coproduction Centrale Fies (Dro)
with the support of Provincia Autonoma di Bolzano alto Adige,
Fondazione Cassa di Risparmio di Bolzano, Il Vivaio Del Malcantone (Firenze)
residences Centrale Fies (Dro), Il Vivaio Del Malcantone (Firenze)
Codice Ivan is part of Fies Factory
I am dead. I died and I am dead and I can tell you no more about the meaning of life than I could when I was alive. But I know everything about the meaning of death. I saw no white light, attractive or otherwise. I felt no sweet feeling or relief or understanding or ease. I felt nothing. Happily, I can also report that I experienced no pain. However, now I am nothing but pain. To myself, my family, and to you.
Death is not a bad thing. And when death arrives one should stay dead. This is what I learned. I would like you all to be able to feel my death, so that you could stop being afraid of it.
Percival Everett – American Desert
MUORI // SOUNDS GOOD can be considered as the second step of a research project that started with GMGS_What The Hell Is Happiness?
In the process of investigating happiness we found ourselves involved in the relation between life and death.
Today, in our society, the concept of death, its meaning, is often removed, sometimes spectacularized, but always transformed.
But "We are death, as well as life", writes Lester Bangs. The co-existence of life and death is the focus of this new production. Life and death conceived as one thing, together. The rising consciousness of this lies in a shift of perspective, in the ability to re-think death and gain freedom through it.
Mozart's Requiem is a funeral mass but its music succeeds in bringing us a shocking, vital energy capable of making us sense life's brevity and uniqueness. MUORI is at the end an invitation to act, to stand, to live.
The whole process is guided and supported by a rigorous scenic device.
On stage there are three performers.
The first writes orders on a laptop, the text being simultaneously projected on a white screen.
The second performs the orders received from the screen without questioning or doubting.
The third shoots frames of the performed actions: changes in the body of the performer, macros, details that cannot be seen with the naked eye.
The second performer's actions are simple, linked by a thin red thread: he takes flowers to the person he loves. But the path is full of obstacles and physical effort. The performer will have to cope with the tiredness of a body battered by water, sand, flowers, food, that is physical elements. The body collapses but finally finds relaxation drinking a beer on a sunny beach.
The videos shooted by the third performer and edited directly on the camera are now projected on the background, while Mozart's Lacrimosa plays.
Through the juxtaposition between the video and the live performance the audience is led to re-read the show. Previous actions now find new significance in the video, like a short circuit finally bringing hidden meanings and emotions on stage.
The artistic process bringing the piece to a close, a 60 minute performance, is structured in two long periods of residence that will take place between March and May 2013. Centrale Fies is currently co-producing the show, but the company is willing to meet other eventual co-producers interested in the project.