Liberamente ispirato all’opera di Heinrich von Kleist e riletto attraverso l”’Anti-Edipo” di Deleuze e Guattari
Maschio Bianco Adulto. Condizione patologica.
Geneticamente compromesso con la Natura Killer.
Pentesilea/Achille entità “schizo”.
“L’ es funziona ovunque, ora senza sosta, ora discontinuo.
Respira, scalda, mangia. Caca, fotte.
… Ovunque sono macchine, per niente metaforicamente: macchine di macchine, coi loro accoppiamenti, colle loro connessioni.
Una macchina-organo è innestata su una macchina-sorgente: l’una emette un flusso che l’altra interrompe.”
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.
Penthesilea/Achilles: a “schizophrenic” entity.
How shall I act?
“It is at work everywhere, functioning smoothly at times, at other times in fits and starts.
It breathes, it heats, it eats. It shits and fucks.
…Everywhere it is machines–real ones, not figurative ones: machines driving other machines, machines being driven by other machines, with all the necessary couplings and connections. An organ-machine is plugged into an energy-source machine: the one produces a flow that the other interrupts.”
Nikola Tesla. Lectures
by Masque teatro - Forlì - Italy
The performance includes a few introductory remarks concerning brief references to Nikola Tesla's biography and to how the work of Masque on the electric machines invented by the great serbian scientist has developed. Also, it details the reasons – among which there was the desire to guarantee visibility to Tesla’s work and its special visionariness - that led the company Masque teatro to organise the mise-en-scene of the extraordinary universe of the man who was defined as the "inventor of the XX century"; after twelve years, our research work finally resulted in this extraordinary conference/experiment.
PremiseWhen we first came across the incredible story of Nikola Tesla, we thought we had to do with a sort of urban legend: how could the man who had created the first power station by harnessing the Niagara waterfalls be practically unheard of? And how could there be no trace of his name in the history of humanity and science of the last century, when he was clearly the protagonist?
The fact that he was the inventor of the three-phase electric power system, which is still supplying our industries and homes, and that he owned the patents of the first AC (alternative current) engine, together with that of the first radio system – up to the clamorous recognition, in 1943, by the Supreme Court of the United States, of the authorship of the invention of the radio, at the expense of Guglielmo Marconi – did not seem to have affected the notoriety of the serbian scientist.
When the first lightning was produced by the very first Tesla Coil assembled and set in motion by Masque – a 120 cm lightning which is nothing compared to those generated by Tesla in his laboratory in Colorado Springs, where he succeeded in creating the longest ever man-made lightning (260 feet), it was clear that most of the "legends" about the scientist were "holy truths". And the reason why the extraordinary work and exceptional intuitions of Nikola Tesla were not appreciated was because he was ahead of his time and, above all, he was in sharp contrast with the developing american electric industry, which Tesla himself had contributed to get off the ground.
Incubo di solitudini ed erotismi ispirato all’unico film di Jean Genet ‘UN CHANT D’AMOUR’ del 1950: film dove i delinquenti vivono in un’atmosfera poetica ed eroica, pulsanti di vita e di sesso.
Uno spettacolo dal fascino oscuro e violento in cui è proprio l’orrore dello sporco e del tetro ad esaltare ambigui carcerati che finiscono per apparire sotto la lente della santità, inquadrati nella fredda architettura della prigione come in un polittico blasfemo.
IL RAGAZZO CRIMINALE è un’elegia per gli esclusi e i perdenti, angeli dannati ed eroi ribelli. Oltre il filo spinato che separa la scena dalla reclusione della platea della libertà, prende forma uno spazio scenico potente e inglobante: una struttura a due piani con cinque celle, e l’ora d’aria: qui tra il fango, vivono le loro esistenze solitarie i criminali, gli attori criminali, in un rituale enigmatico di disperazione ed anelito all’eroismo.
by Masque teatro
MARBLE. ON A WINDED CIVILIZATION
with Matteo Ramon Arevalos, Lorenzo Bazzocchi, Giacomo Piermatti, Silvia Proietti, Eleonora Sedioli
set design Lorenzo Bazzocchi, Eleonora Sedioli
video Andrea Basti
costume designer Anna Bazzocchi
music Matteo Ramon Arevalos, Giacomo Piermatti
organization Clio Casadei
conceived and directed by Lorenzo Bazzocchi
co-produced by Mood Indigo_Bologna
produced by Masque Teatro
A state of pure passivity.
How does the man react when he finds out that the nature of things is not unique and manifests itself by an image, both mechanical and vibrational at the same time?
How can you survive your own death without being certain of your own substance?
I remember endless discussions with my father Giulietto, an elementary school teacher, and my fantastic conjectures when we spoke of space and time.
Someone throws a stone, then goes to pick it up.
If we assume that the launches proceed in a straight line, this someone will always be able, eventually, to get to that stone and throw it forward again.
I thought that, by repeating that gesture endlessly, I could demonstrate, though almost trivializing it, the infinity of space.
My father replied, as someone else had already said, that space could be curved and therefore my journey towards infinity would not be anything but turning right round ourselves.
However I was convinced that I was right.
The incompatibility between what appears to be rational and obvious to our senses and the true nature of things leads me to seek with obstinacy, although with considerable anguish, an original state that can move towards its own recognition, step by step.
Maurice Blanchot’s concept of "passivity" describes this primordial feeling perfectly, in our opinion.
Marble (It: Marmo) takes its origin and strength from the French essayist and philosopher’s book The Writing of the Disaster.