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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.. >>>

Nikola Tesla. Lectures

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).>>>
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

Loosely based on Francis Bacon: The Logic of Sensation by Gilles Deleuze.

This essay by the French philosopher is to be considered an out-and-out compendium for performing arts.
Deleuze identifies three elements in Bacon’s painting:
- large backgrounds, as spatialization material structure
- the Figure, the Figures and their action
- the contour >>>

Il ragazzo criminale

Loneliness and eroticism are the distinguishing features of the work inspired by ‘UN CHANT D’AMOUR’ (1950), the only film directed by Jean Genet. In this film, criminals live in a poetic and heroic atmosphere, throbbing with life and sex.

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”.. >>>


Fire or the abandonment

One 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.
This is closely linked to the theme of the bell, the changement that creates the transformation from  a liquid to a solid state, the bronze: when fire attacks an element, it does it by penetrating in its cracks, in its wounds.
And then it destroys it and turns it to dust.

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’. >>>


…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?
What are all these notions of yours for? Which conscience will suffer for this?Mine? I don’t have any conscience, I just have nerves. A carrion strikes me down and a sore is opened, another carrion praises me is another sore.
You give yours all to that, your heart, but they devour your soul and your heart. You come out with the disgust  from your soul, they devour even the disgust. They are all educated, without exception and they all have a reputation for having a great sensitivity. >>>

Improbabili previsioni del tempo
Nur Mut

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.
The machine churns out products all the time to tickle the production, to make it sparkling. All the production records are definitely going to be broken within this month.
This is not sure, but it must be what the clerk in charge of the washer-feather- lottery-wheel is thinking. He approaches, presses, totters, turns his head. The last goodbye to his colleagues, who remain at the console, and then he dives.
Everything is tossing. Feathers are raised and lowered again. If the clerk bites an apple – get rid of that organic thing-  he offers his arm to the other one for the last laughter and the third one is just ready for the count of the bite and the laughter.
You can play with your numbers or write the production data on your notebook, but you won’t get it. Its spontaneous reaction is not ruled by set laws.
The wing-beat of a butterfly near it could suddenly change its pace. >>>

ES_mostra fotografica
Meccanica Anima
The Decision

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. >>>

Il Presente

Pneumatic valves blow air into pistons/columns.
As if it were suspended in the air, the metal surface flexes sinuously, it arches the skyline, and gets back to a state of stillness.
The machine breathes, and with it, a human body laid down the metal wave as well.
The tangled limbs follow each other forming slow spirals, letting themselves be rocked by the upward motion of the metal sheet which now imposes new geometries and a new balance. >>>

Il respiro del tempo
_di Sara Baranzoni

Corpo peso respiro
_di Massimo Marino

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. >>>

La macchina e l'umano. Pentesilea di Masque teatro_di Lorenzo Donati_Altre Velocità
La danza feroce di Pentesilea
_di Magda Poli_Corriere della Sera

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.
...“life would be if time did not move away from it its being constantly in the future ….the necessity of the escape in time implies the necessity of the expansion in space”.
The visions of the Hungarian director Bela Tarr are based on the work of the young Michelstaedter, who committed suicide in 1910 at the age of 23. At the moment, three of Bela Tarr’s works are a source of inspiration for us: Karhozat (1987), Satantango (Sátántangó1994), Werckmeister harmonies (Werckmeister Harmóniák, 2000). >>>

Omaggio a Nikola Tesla

His wonder never consists simply in the expression of surprise but also in an answer: "it is not a supreme act of distraction but an act of attention, it does not belong to the order of irresponsibility but to that of responsibility". The exceptionality of this figure lies in the fact that Tesla was able to anticipate ethics to invention, to technological realization.
In 1999 we were preparing “Eva Futura”, based on the novel of the same title of the fench writer August Villier de l’Isle Adam. The main character of this novel is Edison. And from these researches emerge Tesla. Almost from nothing. Why?
For us, “tesla” was just the unit of measurement of an electric quantity.
The study on Edison brought us to investigate what in the United States was called the “war of currents”, a sort of a battle in which the direct current of Edison was in set against the alternating current of one Tesla.
We started a parallel study on this figure
. >>>

Eva futura

Coefficiente di fragilità

The performance based on the ‘identity/otherness’ theme and draws his inspiration from the work of Marcel Duchamp.

The King and Queen traversed by Swift Nudes - Unexpected encounter - The large glass - to look at oneself-looking
Given: 1. The Waterfall 2. The Illuminating Gas >>>

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