written by
ricci/forte
movement trainer
Marco Angelilli
stage designer
Francesco Ghisu
costume designer
Gianluca Falaschi
sound designer
Thomas Giorgi
technical director
Alfredo Sebastiano
assistant director
Liliana Laera
directed by
Stefano Ricci
Anna Gualdo
Giuseppe Sartori
Piersten Leirom
Gabriel Da Costa
produced by Romaeuropa Festival and Snaporazverein and co-produced with Théâtre MC93 Bobigny/Festival Standard Ideal, CSS Teatro stabile di innovazione del FVG, Festival delle Colline Torinesi
Darling, the first stammering in the new polis. Darling, the alphabetisation of a feeling. Darling, the perimeter of an emotional land to be ploughed. Darling, the chthonic sobbing of Aeschilean tragedy. Darling, the tsunami that wipes out the order of things. Darling, a container where human and divine symbols and senses can be stocked and break out again before the next boarding.
In the airport of our mind, a still active liminal valve, the refugee camp - after the great wave - feels back the shivers of a past through the marks left on things stolen from water. Without any ethical domicile, we are waiting for blaze as sentries waiting for their father warrior to come back. In this imprudent transitional phase, a rite of passage is celebrated contrariwise, as bringing up with bestial streams and - after the downfall of the regular surveys - getting back the stench of bowels stained with avenger blood.
As a Gregory Crewdson' snapshot, the apparently reassuring reality is disturbed by the irruption of nature, which affirms its supremacy and makes any attempt to “control” it fruitless. This is accomplished through the dike of state, a Justice that is more and more tailored to the leaders' needs. A fake reality that shows itself with the same persuasive strength as a genuine reality. A fake that - differently from a copy - overlaps reality improving the original through new rituals: strong social actions that - just when order is altered by natural events - recreate a new state, different from the previous one. Putting out the try to create an ideal state - Hannah Arendt tells properly about the unconsciousness behind this self-destructive deterioration in a regulation of a social group - we feel back our beat and the call for an individual and barbaric ethical sense becomes bewitching.
May the horrors in Oresteia, even though they can be considered far away from nowadays symbols, give us back - through nightmare - a new solid platform where to rest the hope for a new future? Or will it be the umpteenth clinic hangar where we will accept the mitral bromide punishment in order to follow the straight-line road for the utopian democracy? As garden moles, we break up the flowerbeds looking for a dress that can make us look like civilized inhabitants of a fraudulent perfect world.
In a world of a gelid self-representation, of a cold rationality, the old system of values - pervaded with trust in miracles and magic - looks even psychotic. However, its paradoxical logic goes beyond any postulate of reality, as in the unconscious of a dream.
Aeschylus and ricci/forte, genesis and hyper-contemporary, Artaud and hard rock by Led Zeppelin, a sound and physical inter-textual overlapping that aims to scan a lysergie that - just in this historical period when society is affirmed by the delimitation of the Other (each of us asserting his/her own identity) - can be the compass to find out new trajectories.