Edoardo Sanguineti
Andrea Liberovici
Andrea Liberovici
Paolo Giacchero
Filippo Garrone
Sandro Sussi
Teatro Stabile di Genova
Patrizia Lanna
Alessandra Vinotto Sukkar
The scene is empty.
There is a great screen made of white tulle as backdrop. All the show will develop
on the stage, including the public. An "anatomical" theatre, a flight
of steps, a big emptiness in the centre. The public will cross the stalls and
will go up the stage from two lateral small stepladders (like the entrance in
the scene of the six personages by Pirandello). The ushers inside the theatre
will ask to give the name and last name, or a nickname. Obviously it doesn't
matter the "truth". A series of hidden television cameras (in the
foyer, on the scene, in the stalls, in the direction of defined seats) will
shoot all the images. Nobody must obviously notice any of these shoots. The
public is seated, slowly in the stalls, the lights begin to dim, and the character
of the "writer" comes from the bottom, with the coat on the arm, breathless.
It must be noticed, that the public will concentrate itself on this breathless
man, who will cross the stalls, running. He goes up on the scene, and there
is a change of scene. The iron curtain comes down, it is pulled with violence
(the true stalls will disappear to the view of the public) and as a consequence
some central tables of the stage collapse. All is very amplified. There is an
earthquake in the scene. It is violent and unexpected. The stage is opened wide.
Dark. The tables are collapsed, and they must be decomposed, just like a stratum
that is opened, a hurt.
Hush.
The writer enters the scene, he moves with simplicity and attention through
these empty space made of uneven floor. He rolls into a ball its coat on the
ground, pulls out a small digital camera from a pocket. In this sequence, all
the steps go in the dark; only the "scene" remains on. The writer
begins to watch curiously the pubic one by one. He photographs and dazzle with
the flash, those that more interests him. The writer puts down the camera, pulls
out a portable from its bag, he switches it on, and keeps it on his knees; and
slowly, the personages of the public appear projected, shot secretly from the
camera, on the great screen behind its shoulders. There will be different moments,
the entrances in the foyer, the passage through the stalls, sitting down to
the place etc. There will be the immediate "past" of the public. The
writer puts the computer on the ground and talking to the public, he will point
to at six persons. For every gesture, a spotlight will switch on above each
person of the selected public, and one small hidden camera will shoot in real
time the same personage. The six chosen and shot personages will go slowly to
replace the shots on the white screen. We will have therefore, now, the shot
of the "present" of six fortuitous personages who replaces the shot
of the immediate past, during the entrance of the public in theatre. At this
point the writer begins its monolog on the personages who come to visit. During
the monolog the enlightened people of the public will return into the dark.
End of the shots on the white tulle. Then the monolog on the fantasy (preface
of the '25). This monolog will change the lighting system and the sound. You
can listen in fact some small laughs and small runs on the grating. Like a child,
who plays and hops. The writer will be illuminated from the bottom, by the hole
in the centre of the scene. His great shadow will fill up the screen on the
bottom, and the writer will know this, and he will use it as if this great moving
shadow, his shadow, were the fantasy personage that it goes evoking. There is
a dialogue with the child's shadow and steps, which are listened in the grating.
At the end of the monolog a plop will be listened, like a body fallen in the
water. Hush, then a pistol shot behind public. The writer is not astonished
indeed, he is amused. Like a juggler, moving the arms, in silence, he will provoke
of photoelectric cells, which will give marks to the voices, the voices of the
virtual personages. The conflict, the melodrama, the drama of the personages
will begin to gush out, virtually, from the grating, in the public. In fact,
there will be hidden some speakers, among the seats, small loudspeakers. The
sonorous organization will be set up for giving, like a sort of "sonorous
hologram", the feeling of presences, which are made of meat and bones,
moving in the public. The acoustic illusion, the illusion of the fixed memory,
which is impossible to cancel, will survive to us, and put in motion to the
signal of the writer. Slowly.
Madam Peace. An alarming "website" will appear on the great screen. There will be some names of the public in the list of the participants to the "porno" website. The photos, which the writer has taken among the public, will be projected in the website. The web-cam shows the action of seduction with the stepdaughter among the public. The images, some erotic details, will come continuously projected, like a loop, as it happen for some words. It will begin from a white screen, like a paper sheet, and the end of the show will be marked, by the collected memory, in a ring, on itself.
The End
Behind the screen made of white tulle, there will be a wall, where some theatre
seats are hung to several heights. There will be the personages, in front of
the public. A long silence. Some minutes of dramatic suspension. Then on the
screen, the names, which the public has given to the beginning, begin to slide.
Like closing credits. Slowly in cross fade, the personages will begin to disappear
and their empty seats will be illuminated on the steps. Slowly the iron curtain
goes up. The stalls will appear, in the dark, and from the bottom a gun blow.
The end.