La prima periferia. 2010

La prima periferia (2010)

By and with Daniel Blanga Gubbay, Paola Villani
And with Simone Basani, Giovanni Marocco
Produced by Pathosformel/Fies Factory One
Co-produced by Centrale Fies, Operaestate Festival Veneto, Uovo performing arts festival
With the contribution from Ufficio Promozione Giovani Artisti-Comune di Bologna
With the support of Teatro di Fondamenta Nuove (Venice)
In collaboration with Teatro Franco Parenti – Progetto Residenze; TEATRI DEL TEMPO PRESENTE – L’ETI Ente Teatrale Italiano per le nuove creatività
First performance: Milano, Fabbrica del Vapore, Uovo Perfoming Arts Festival 2010, 19-21 marzo 2010
Encore performances:
Drodesera, Drodesera festival, 29 – 31 luglio 2010
Drodesera, SkillBuilding – Drodesera 2014, 24 luglio 2014

Pathosformel, La prima periferia (2010)- presentation

by Lorenzo Guerrieri
The stage is sunk in twilight. The backdrop is white, as is the stage, and upstage it curves slightly upwards to form a low partition. On stage, crouching, are two performers. But what captures the spectators’ attention are three inanimate presences. These are three life-size skeletal dummies made of metal, equipped with almost all the joints of a human skeleton, down to the phalanges of their hands.
The two performers have focused on one of the three skeletons. Slowly they try out various ways of moving its metal joints. To give substance to the scene, a sound carpet runs continuously, metamorphic and subliminal, determining throughout the performance the emotional heat of its different phases.
The two performers, who patiently move an arm or head of their metal skeleton, are soon joined by a third, who tends to the other skeleton lying on the stage.
The three performers (Daniel Blanga Gubbay, Simone Basani, Giovanni Morocco), in gray sweatshirts, throughout the performance remain focused on the metal skeletons. Two of them manage to bring one of the dummies to an upright position. Very carefully, all three performers try out the possible leg, arm and head movements of the upright skeleton.
The stage lights are raised, the background sound becomes a slow ticking, while each performer now focuses on one of the three skeletons, which are moved, dragged and made to walk about the stage. One is placed seated on the partition at the back of the stage.