L'une
des raisons de l'atmosphère asphyxiante où nous
vivons sans aucune possibilité de nous échapper ou de
nous défendre - et dont
nous sommes tous responsables, même les plus
révolutionnaires d'entre nous - est le respect
pour ce qui a été écrit, formulé ou peint,
pour ce qui a pris une forme, comme
si toute forme expressive n'était jamais épuisée,
et n'était pas arrivée au point où il est
indispensable que les
choses explosent pour que l'on puisse recommencer à nouveau.
(A. Artaud, Le Théâtre et son double)
One of the reasons
for the suffocating atmosphere in which we live without a possibility
of escape or defence – and for which we all share the blame,
even the most revolutionary of us – is the respect for what
is written, formulated or painted, for what has taken a form, almost as
if any form of expression was never exhausted, and had not reached a
point where it is necessary for things to blow up in order to start
from scratch. (A. Artaud, from “Theatre and
its double”)
BASTA
CON I CAPOLAVORI (ENOUGH OF MASTERPIECES) is part of a Project on
Artaud which delleAli has been pursuing for a long time. Traces of it
were already present in many of its previous works (All that
is…; A.A.’s silent scream; sensitive
lecterns/music stands).
delleAli has been exploring for years the relationship between
different means of expression: speech, movement, gesture, image, sound,
music… from this study he drew his own way of doing things,
which can be defined as theatre of the sound. It is a kind of theatre
where the use of voice leaves behind the rules of common sense in order
to donate itself and become soul of an “organic” body, with
its “expulsive
discharges, excretory angers, verbal explosions, glossolalias,
chewed whispers, blows… abject remains of the being in search of
liberation"*, in a sort of primitive theatre.
This digging among various means of communication makes so that
de-structuring, structuring, and re-structuring come to coincide, the
game gets dismantled in its different parts and recomposed in order to
give silence its force and its form...
The main feature in the play, and in the project as a whole, is that of
mutability. The “show” takes new forms and new outlines
from time to time adapting to space, moment, audience, current
issues…
Music and voice are fused together in a sort of exclusive mixture,
which doesn’t exalt the words’ poetic meaning but their
sound and their shadow. This way, thanks to this diminution in meaning,
their dramatic aspect** can be brought to the foreground.
We like to think of a poetic echo, rather than of poetry itself. delleAli
*
Carlo Pasi “La voce di Artaud” in Artaud Attore ed.
la casa usher)
** (Marcello Gallucci in lettera a Cassinotti Antonello)
Our
dedication to the French poet aims at investigating the loss of borders
between word and image, between image and sound, between music and
word, in some sort of search of poetry in space or, even better, of
space… an attempt to shake the eye through the ear, and the
other way around. Even the movement, the gesture that mark or underline
a word, a note, a pitch, appear to the eye as musical annotations.
The body-sound chases the music of the means of expression along a
path/itinerary that draws a geography (geometry) of impulses,
alternating possible presents as dictated by the alchemy of the instant.
The masterpiece has no preconceived rules
The masterpiece cannot be built to resemble
The masterpiece is nothing else than reality… not even separate
Reality as it is not visible otherwise
There doesn’t seem to be an alternative
There is no character that gives voice
It is voice that becomes character, impulses
An instrument which is resonant
The clarinet
The clarinets
