Theatre is a form of dance, a dance that moves bodies, sounds, words. A form of a sensorial communion, where the word “communion” is to intend in a laic, human and carnal way.
The work I have done until this year 2014, has nourished my experience and my life. I will write about this long experience, when words will be ready. Arrived at this point of “detachment”, I recognize the theatre as presence and tool able to create new shapes, new forms of resistance, coming from the ash and the green shiny pieces of wood that burn.
In this phase of detachment, in this breaking emerges an hypothesis and a realization of a work in progress, named CUNE, CRADLES. We can say a work of video-poetry, an installation, a “mise en scène” of elements. We can say an artistic project coming from the hearth.
CUNE comes from labour pains without labour pains, an anesthetized labour in which you can lose the life by continuing to live. And this lost life has a “soundtrack” that is the voices of the mothers, the songs of the moving mothers to their children, a song that has in the hearth a constant point of reference. Hearth that welcomes the child that sleeps, the child that dies.
These lullabies have many points in common with the funeral songs, by using similar words, melodies that move in different directions, in a different wrinkle. One melody asks for the health and for a good growing of the child, and the other melody prays the hearth to welcome the dead life in its womb, waiting in its silent and variable staying.
CUNE starts again from the hearth, an element always present on my life. When I used to dig with my hands in the countryside near my home; when I broke on the rocks and on the ground vases of terracotta and water, singing to my lost love; when they offered me the soil of their devastated land, the women in Sebastya, in Palestine.
CUNE starts again from the hearth in order to find a breath that is life, a breath pumping and pulsating in the veins when the life show itself in all its misery.
In these days CUNE shows itself through a first movement. The work, presented during an art exposition that still continuing in these days thanks to the artists Pierluca Cetera, is placed in the basement of an ancient palace with vaults of stones. In this basement the elements composing CUNE.I movement, stats to interact, trying a dialogue with the space and with the eyes of the public.
CUNE.I movement has a subtitle: AB-orto: Silenzi della vita e della morte.
Aborto is the italian word for abortion but at the same time is composed by ab plus orto, that in italian means “vegetable garden”. So a double meaning that units the idea of something that goes out of the life, and in the same time, something that is related to the attention given to the life in a garden. So: AB-orto:Silences about life and death. This subtitle comes from a starting point: CUNE starts from the silence and the mute presence of the hearth, a silence that has inside the songs of the mothers linked to the hearth, mute songs.
The work has been possible also thanks to a network of artists met during ten years of work with Astràgali. Experience, as I said before, I will narrate when the words and the heart will be ready.
Some of these artists helped me to collect this songs: Sara Musa from Palestine, Ilgaz Ulusoy from Turkey, Elena Hadjifxendi and Yianna Georgiadou from Cyprus, Enton Kaca from Albania. Others will come.
Because the richness of the theatre is in the women and men that continue to work in theatre according to a precious and alive path, through a constant practice of collaboration, far from the society of the show business.
The editing of the first images of soil and other elements (stones, lime, sand, wood) is of Marianna Fumai, that patiently has followed me during hard peregrinations. Peregrinations in full August, in the countryside from Adelfia to Castellana Grotte, until the sea of Torre Canne. The images of water are not included in this first movement because the water will have another kind of space after the silence of the hearth.
And, I dedicate this first work to Jara Marzulli and Leonarda Laforgia, two women that with their silent presence and their strong voice, accompany this green pieces of wood that still burn.