Muta Imago | productions | Madeleine
Creation Muta Imago | Direction Claudia Sorace | Drama / Sound Riccardo Fazi | Stage setting Massimo Troncanetti con l’aiuto di Luca Giovagnoli
Dresses Fiamma Benvignati | Performance Glen Blackhall Chiara Caimmi Irene Petris | Stage pictures Luigi Angelucci Laura Arlotti | Production Muta Imago 2009 | Coproduction RomaEuropa Festival in collaboration with Bassano Opera Festival, Artlink Romania, with the support of Regione Lazio, Assessorato alla Cultura, Spettacolo e Sport, Amat Marche/Premio Valeria Moriconi 2009, L’Arboreto - Teatro Dimora di Mondaino, Centrale FIES, Teatro Fondamenta Nuove Venezia, Citta’ di Ebla, Kollatino Underground.
Presented inside the european festival TEMPS D’IMAGES 2009
Madeleine is the story of a wait. Of a slow sighting.
An approacing, an unstoppable countdown, an inexorable descent toward a manifested destiny.
Lev, our previous show was about a man who strives to come back home. In Madeleine a woman waits for a return. She doesn’t know if and how it will happen, she doesn’t know when. But she knows it will happen, that it will be unpredictable, devastating, destroying: it will make explode anything she could have built before.
Everything at the beginning looks serene, secure, protected: the woman, alone, inhabit a tranquil and definite place. The gestures are essentials, the faint movements remain suspended in the air. The space is still, precisely outlined, the lines that pass through it draw precise courses and paths.
But slowly, in an implacable way, a strange spell settles down on things, like a vertigo that moves what it shouldn’t be moved: small, contradictory signals appear between the folds of reality: a gust of wind, the sudden passage of a shadow, a light that moves or suddenly turn off. The woman tries to defend herself, she tries to get hold of reality.
An atmosphere of strange electricity fills the stage.
The woman realizes that soon she won’t be alone anymore.
Dream and fear are the constitutive elements of Madeleine’s world.
Together with the performers and a world made of limens, projections, tricks, transparencies and reflections. Together with fog, smoke and wind.
Because we feel invaded. We feel under siege. We feel something terrible is going to come and we don’t know how to react, andwe hide in our paper houses, hoping they will resist to the impact. We’re scared. We try to ignore the signals, we diminish our own feelings.
The past, we’d rather forget; the future, we can’t think about it, too worried to preserve a present constantly under menace.
We’re afraid of loss and abandonment; we fear the real exuberance, the exceptional and obscure passions; we’re shocked by the complete embrace of a movement that is not direct, but concentric, spiraliform, feminine.
Maybe only dream remains that mythical territory that is always been: the place where barriers fall down, where anything that’s far meets, against our willness, where directions remain unpredictable: this place we would like to investigate. This state of waiting we want to experience. Of this useless fight to resist and of the latter defeit we would like to talk about.
Because the storm doesn’t wait anymore: it suddenly arrives, twists, drags. It seems to separate, but it unifies. It seems to destroy, but it deprives of the superflous, it shows, manifests and with its passage leaves, spread all over, fragments of pure truth.
Riccardo Fazi
Dresses Fiamma Benvignati | Performance Glen Blackhall Chiara Caimmi Irene Petris | Stage pictures Luigi Angelucci Laura Arlotti | Production Muta Imago 2009 | Coproduction RomaEuropa Festival in collaboration with Bassano Opera Festival, Artlink Romania, with the support of Regione Lazio, Assessorato alla Cultura, Spettacolo e Sport, Amat Marche/Premio Valeria Moriconi 2009, L’Arboreto - Teatro Dimora di Mondaino, Centrale FIES, Teatro Fondamenta Nuove Venezia, Citta’ di Ebla, Kollatino Underground.
Presented inside the european festival TEMPS D’IMAGES 2009
Madeleine is the story of a wait. Of a slow sighting.
An approacing, an unstoppable countdown, an inexorable descent toward a manifested destiny.
Lev, our previous show was about a man who strives to come back home. In Madeleine a woman waits for a return. She doesn’t know if and how it will happen, she doesn’t know when. But she knows it will happen, that it will be unpredictable, devastating, destroying: it will make explode anything she could have built before.
Everything at the beginning looks serene, secure, protected: the woman, alone, inhabit a tranquil and definite place. The gestures are essentials, the faint movements remain suspended in the air. The space is still, precisely outlined, the lines that pass through it draw precise courses and paths.
But slowly, in an implacable way, a strange spell settles down on things, like a vertigo that moves what it shouldn’t be moved: small, contradictory signals appear between the folds of reality: a gust of wind, the sudden passage of a shadow, a light that moves or suddenly turn off. The woman tries to defend herself, she tries to get hold of reality.
An atmosphere of strange electricity fills the stage.
The woman realizes that soon she won’t be alone anymore.
Dream and fear are the constitutive elements of Madeleine’s world.
Together with the performers and a world made of limens, projections, tricks, transparencies and reflections. Together with fog, smoke and wind.
Because we feel invaded. We feel under siege. We feel something terrible is going to come and we don’t know how to react, andwe hide in our paper houses, hoping they will resist to the impact. We’re scared. We try to ignore the signals, we diminish our own feelings.
The past, we’d rather forget; the future, we can’t think about it, too worried to preserve a present constantly under menace.
We’re afraid of loss and abandonment; we fear the real exuberance, the exceptional and obscure passions; we’re shocked by the complete embrace of a movement that is not direct, but concentric, spiraliform, feminine.
Maybe only dream remains that mythical territory that is always been: the place where barriers fall down, where anything that’s far meets, against our willness, where directions remain unpredictable: this place we would like to investigate. This state of waiting we want to experience. Of this useless fight to resist and of the latter defeit we would like to talk about.
Because the storm doesn’t wait anymore: it suddenly arrives, twists, drags. It seems to separate, but it unifies. It seems to destroy, but it deprives of the superflous, it shows, manifests and with its passage leaves, spread all over, fragments of pure truth.
Riccardo Fazi
