Seigradi. 2008

Seigradi_concerto per voce e musiche sintetiche (2008)

ideation Diana Arbib, Luca Brinchi, Maria Carmela Milano, Dario Salvagnini, Pasquale Tricoci, Roberta Zanardo
live video processing Diana Arbib, Luca Brinchi, Pasquale Tricoci
body and voice Roberta Zanardo
sound and live processing Dario Salvagnini
recordings H.E.R. , voice and violin – Viola Mattioni, cello – Giacomo Piccioni, wind instruments
costumes Maria Carmela Milano, in collaboration with Fiamma Benvignati
3D visual designer Piero Fragola
3D animation (water) Alessandro Rosa
organization Elena Lamberti
stage photography Laura Arlotti
production Santasangre 2008
co-production Romaeuropa Festivalal 2008/Romaeuropa Promozione Danza, Sistema Teatro Marche / In teatro
Winner of NEW CREATIVITIES with the support of ETI Ente Teatrale Italiano
with the contribution of Città di Ebla
with the support of AgoràKajSkenè Aksé Crono 2008
creative residences L’arboreto – Teatro Dimora di Mondaino, OperaEstate festival Veneto/la conigliera-ANAGOOR, Drodesera>centrale FIES

Seigradi_concerto per voce e musiche sintetiche (2008) – presentation

by Mauro Petruzziello
Seigradi was the third play that Santasangre included in its Studi Per Un Teatro Apocalittico cycle. As with 84.06 (2006) and Spettacolo Sintetico Per La Stabilità Sociale (2007), the first inspired by George Orwell’s 1984 and the second by Aldous Huxley’s Brave New World, Seigradi had as its touchstone a secular reflection on the meaning of apocalypse, a concept developed from the dual polarities inherent in the term: on the one hand revelation and on the other a metamorphosis that encompasses the process of death and (re)birth. Unlike its previous plays, Seigradi had no literary link but took shape from scientific theories on global warming generated by high carbon dioxide emissions. The six degrees of the title referred to the rise in temperature that produce both floods and desertification. Seigradi was generated by a series of preliminary studies whose title alluded to its musical nature: Concerto per voce e musiche sintetiche. The word “concerto” was meant in the sense of concertation, where countless languages (sound, video, use of light, the performer’s presence on stage) united to form an entire spectacle. The theme evoked – the birth of a form of life, its evolution and death due to the desertification generated by rising global temperature – adopted a sonata form (exposition-development-recovery and coda), which became the modeling device of all the scenic languages. As for the reference to music being its modeling system, the fact remains that all the languages, by virtue of their interconnections, had equal importance in a perspective that implied no hierarchy of signs.