1. The Plot is the Revolution_short


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    by Enrico Casagrande and Daniela Nicolò with Silvia Calderoni and Judith Malina (Living Theatre) with the partecipation of Thomas Walker and Brad Burgess a Motus production Extraordinary Event created thanks to the support of: Festival Santarcangelo41, Morra Foundation, Naples, Cristina Valenti Is it still possible to imagine “Brave New World” as so many utopians have done in the past? Do mental and geographical spaces exist for presupposing and plotting an epoch-making overturning/overthrowing or, let’s say it, a real revolution, in our drowsing west? In a word, is revolution here and now still conceivable? The plot is the revolution is the Extraordinary Event that inaugurates “Making the Plot”, the new project Motus 2011 > 2068. We have borrowed a term recurrent in science fiction and meteorology to describe the sequence of “EE”, or preludes, to the show “animale politico”. Perhaps a process of no return has begun that will cast us into the hot spots of the planet to pick up telluric forces and accumulate the energies necessary for living “in a world to which we cannot adapt and which we cannot renounce, as citizens, as society-makers.” The Plot: a sequence of Public Actions/Happenings and Workshops for urban spaces and unexpected places. Amid utopias and dystopias, libertarian and catastrophic visions, Silvia Calderoni will from time to time involve various artists and freethinkers, actors young and old, kids, animals, bloggers, economists, scientists, philosophers and political refugees…. Judith Malina, our first extraordinary guest, will be joyfully opening this chain of “meetings with remarkable men and women” who have experienced or are experiencing epoch-making moments of political transformation. She supplied our title: the audience at “Paradise Now” were given a map in the form of a diagram which represented the upward journey of the show towards Permanent Revolution. Written at the foot of the diagram were the words “THE PLOT IS THE REVOLUTION”. This occurred precisely in 1968, when really all the Living Theatre believed that when they left the venue the revolution would be put into action. And… What’s going to happen now? We’re putting on this “encounter between two Antigones” to share with spectators an occurrence or experiment, not a show but a fact, a dialogue between generations, experiences, voices and physicalities that are different but considerably close, united by the sound of the flame that leads us to still believe in theatre as possibility of action, of making a mark on the present time. We feel “disappointed but not resigned,” to quote once again the great Paul Goodman who described himself thus. And with courrage (doubling up the r) we are trying to exhume this word and bring it back to the centre of artistic activity as a necessity, and maybe as a real possibility. “Judith Malina is a piece of history, something she’s extraordinarily aware of though it bores her. And in her way she’s satisfied. What doesn’t satisfy her is that having become history she can’t start up a new mechanism of transformation. If only history could become fertiliser, or nourishment, or colour of the horizon, or slashes of light for the generations to come! If only she could call up from the depths of her undomesticated veins new insubordinations and new experiences of stepping outside experiences, outside the ruts of traditions!” Cristina Valenti, Conversazioni con Judith Malina, Titivilus Edizioni, 2008

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