kounellis Jannis Kounellis

Alimono comes out of a breath of a Greak word. The breath of the word and the encounter between eyes and hands. Here is coming nn attempt of mise en scène. The mise en scène of Alimono, poetic collection written by Chiara Catapano.
Alimono ( . ͢ Greak expression meaning “dear me/alas” or “woe to the…”.

The work for Alimono began some months ago and it re-starts in these days of January. The theatre project is the encounter of three persons, three artists: the poet Chiara Catapano –author of the texts, the actress and writer Iula Marzulli –theatre direction- and the musician and actor Gaetano Fidanza –audio and sound-.
The desire, hidden in the words here written, is to take care of two parallel lines, strictly interlaced: one concerns the mise en scène of Alimono, the other one is the writing of the process of creation. -If the mise en scène will be completed, of course-. All will be burned in these days, without compromises and risking everything.

The parallel writing will concern notes, thoughts, materials, images.

A step back
Months went by since Chiara asked me to perform her poetries. I have met Chiara thanks to the painter Jara Marzulli. In that meeting she asked me with lightness to perform her texts and with lightness, I answered “yes”.

In that period I worked in the theatre company “Astràgali” and I had no time for other kind of works. So, my answer to Chiara was reckless. A reckless action that was a presage of an extreme mutation in my life. Like an opening fault.

The “yes” I said, so light and unaware had the weight of the storms

I didn’t know the writings of Chiara so I carefully began to read the proposed collection. Alimono is not an easy work, for the intensity of the life contained, for the multiplicity of the references and for the poetic texture. The reading was not immediate. The texts needed care and patience. I had to find the right key.
In the moment I found it, each word entered in my body.

It is a kind of practice that the actor can have and through which it is possible to “feel” the words and to embody them. After many readings the key was ready to open the door of the poetries. And Alimono is here, in me.

The further step was to involve Gaetano Fidanza, my work’s friend and musician, in order to give him the “audio-sound” part of the work “Audio” in reference to the whole sound aspect of the sound track, while “sound” concerns the research of the sound during the preparation of the track.
Despite of the not easy life conditions Gaetano accepted and he slowly realized a sound track for the performance with audio recording (poetries, songs, sounds), trying to find a point of contact between the the people involved.

After a careful work on texts and on sound, in these days, I’m starting the work on the performance.
From this point the work is proceeding.

I day
the first day is a bridge among the night and the morning. I inaugurate the 1st day by listening Alimono, the sound track created by Gaetano. The first house-lab is properly a house, Gaetano and Eleonice’s home in Cavallino (Lecce). I familiarize with the sound, the poetries, with my own voice that become not mine. The sound track is not completed, we maintain the possibility to change, like a work in progress.
We should be malleable, pliable if we want to give a definitive form to the work.

II day
mute, I feel mute in front of Alimono sound we have produced. Who I am?
I have the sensation to avoid from the work we have done. My body, a vehicle that could allow the creation of images for the mise en scène.

“Mise en scène”. What is the meaning of this word? What meaning it takes with? The scene, the space you prepare to the sight of the other. Actions, words, movements, gestures, objects…like to prepare a lunch, everything at its own place…skené –the mirror**

Mirror, another word often written by Chiara, so close with the light, the idea of the white, something linked to the sun, to the blinding, the lime. Blinding or lighting and ascension (accensione/ascensione).
The idea of a sight that touches, like the substances have no end, no limits, no borders, everything continues on everything . Chiara says “your sight has fingertips that auscultate me”. I strengthen “ that listen me”. I add to the touch the hearing.

Also the mythology present in the verses of Alimono is something like an umbilical cord linking me with the past work. We continue to work in order to consume that cord allowing nourishment.

Quodlibet so little the step among sounds
And yet, time is consuming
in the tender knit of your skin
or like the emptiness
we know only with the vertigo
the loss, the perdition

this happen in the extreme gift of the cut
with tenacity it chews the time
to rebuild it again and again

Now, here for so few days, I dedicate a studio on the texts more and more deep, questioning the text and Chiara and looking for images able to open the multiplicity of senses and to open the “touch” of the sight.
My life enters in Alimon’s life with strength. Blanck slate is the illusion.

III day
I continue to listen the track that has its ow life, its own density. I ask to myself how I can operate respecting the texts and doing the absolutely necessary, the essential. “Essential”, as I start to see it.
Some notes come out. Cyclic words, images, explosion of light, white and ground
The time of Alimono seems “on edge”. Suspended in hearing. Words that work inside slowly and slowly settle. Again, deposit, remain…again…also here….

What remains?

It is like something is squeezed between the hands and the essence of this squeezing comes out. A kind of milk…again white..

Alimono is a delicate work with the quality of a burning silence.




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