On Saturday I went to see PINK SHINE, Vanessa Laja and John Parodi, to Dear Elena (Pi and Margall 1124, 4361-5040 , Saturdays and Sundays at 19).
Rosa
This confusing Latin, I crushed his head for nearly a year between my eighteenth and my nineteen. I had read and reread again and again in the street walking with the heavy book by Umberto Eco in the vicinity of San Isidro CBC brand, across the street with some blame for replacing the notes of "Society and State" a novel postmodern police. Also in my room and in the darkroom of my head, where an old monk, hunched in his scriptorium reduced again and again tore his pen against manuscript. remembered other books, and through these books, words and through words, an image, a woman burned at the stake, a young body (yours). A quintessential red flower. Rose.
The following year I went to the first class in the old Latin I Faculty of Arts, apartments and flats above the former home of Marcelo T, they say, was a hospital or a maternity hospital. The teacher called the roll and stop at Apollo asked me to stand up.
"So we have a student's Apollo," he asked ironically and fascinated.
"Yes" I replied. And I added: "What stat rosa pristine nomine / nomina nuda tenemus ?"
had no reply. Only some vagueness regarding the "tenemus", which should have been "habemus." Meaning ... nothing.
As in dreams, no matter from the first line of dialogue and the third has been more than three months. Twenty years later, with a click on the Google search bar for me there are four possible literal translations of the phrase and a quote from the Apostilles the Name of the Rose Eco which seems to clarify everything. However, none is right: neither I nor Fraschini, or Umberto, and the monk, or time.
Poetics
authors enunciate Parodi Maja and this show is "Calling theatrical poetics Marosa Di Giorgio." The old pink, worn by time, by the popular song by the Litany of Loreto, for my Mystic Rose and all the roses, the old monk dark, the empty name, for nominalism, it is body and flower and shine.
plot summary
A lovely poems Marosa recitatriz said Di Giorgio and invokes, with his body and voice, sensual exuberance his images. The poetry flows from the words to the silence that is also theater.
The poetic voice counteracts
For the classical vision of theater, the boundaries between poetry and drama are sharp, the latter is the territory of the action. The word, beyond their poetic qualities, is used by the playwright as a vector action, action giving body / structure to their characters, I like that image: the word as an arrow pointing, as the cruel darts of fortune that supported (and whined a little rest) the Prince of Denmark.
characters in the theatrical arts (in the dramatic poiesis) are what your action expresses, often hiding. The word is functional to the action ("action that corresponds to the word and word to action, instructed the prince), defining the latter as voluntary acts governed by a purpose. The word action is performative: it is said to do. The word vision more classical drama is nothing but a tool of change, a terrible strain behavior against a moving target.
When the poetic voice and poetic voice only works when the axis of the paradigm is projected onto the term, when Vanessa lists one by one, one by one, one by one, a deep list of fruits or flowers , the dramatic action stops and the theater, classical vision, is diluted. The surface water carries no action. Is the zero point of the method: this is not theater.
The poetic voice is consistent action
For a less classical limitation, the performative is iridescent art, poetry, film, body, pictures, music, form a continuum whose definitions, although necessary, from outside - "call the poetic drama is, we agree, something very courageous to state for something as simple course to see and experience ...
The question, in any case, why would listen, what to see, why go to the fact that performer and musician organized before us, in body / mind time this recital. The "action" is not everything in the poiesis theater since the early twentieth century. And yet, through the cracks of limitation, the action is filtered.
Recitatriz
The presence of the actress inhabits the silence. Watching her eat the fruit, offering her body to the bathroom light and pictures, singing in low voice, as if he did not know but everyone knows that we know, make us accomplices is a theater. There is, of course, that "pure poetry" that wants to separate the theatrical tradition. There is a careful interpreter acting state by state each breath and sense.
be summoned and part of what emerges and unfolds in Rosa Shining well worth a trip to the heart of La Boca. Figs, dates, little flowers, pulp, nectar ... to shake.
Finally: the evil of inaction is often the lack of course be a hint of static, random and misplaced climax. In the traditional device, the viewer feels the imminent completion and subsequent spasm finale. A poetic kept very close to "Recital", however, suffers in structure, because by not telling a story does not advance time. Only real time progresses the audience, which is the enjoyment and the enjoyment (and boredom or deja vu), so personal and arbitrary. Rosa Shining , beautiful, sensual, subtle invocation, leans over his own words and appears, to an end, static. A line less, why not an accordion, or good palms? Because. The rose is without why, said the unknown Silesius. Blooms because it blooms. It's okay, we agree:
