Friday, May 24, 2019

The shattered minotaur

Who then is the Minotaur? Is he really the frightening beast who devoured the young athenians in the depths of his dark cavern, like the greek people transmitting their version, warriors, polemics, sons of Mycenae and readers of the Iliad?

Those greeks who, perhaps, could not understand Cnosso, the enigma of the irenic civilization? And Teseo who kills the Minotaur cannot, perhaps, indicate the micenei who hide the minoica civilization, an artistic and technical civilization, but without arms and without slavery?
Is it really the victory of reason over instinct, as it has been interpreted since ancient times or is it a sign of the desire to remove “what is different”, to master the mystery, “to make normal” the exception, to exorcize the complexity and, so the sign of a profound crisis in the transit from irenic civilization to a warlike civilization, attack, connection between strength and dominion?
In reality Pierre Lévy tells us,”…the palace of Cnosso is infinitely complex, but open to the sky and the sun thanks to its courts and its cavaedium, looking onto the world and the city, thanks to its doors and windows. Not having erected defensive walls, the minoici invented a labyrinth, or a cultural complexity, the collective intelligence projected in an architectonic space”:
And that palace of light, a white labyrinth, the architectonic trace of the joy of living, of beauty, of sovereign lightness, becomes a warlike attitude to the eyes, that can do nothing else except find itself again everywhere, a black labyrinth, a mortal trap inhabited by a monster who devours men.
And the woman, even though being the only person capable of divining the solution of the mystery, is seen as being gregarious, the simple maiden of the hero who purifies with his glorious feats the unavoidable shame of Pasifae.
The shattered Minotaur seems to be trying a return to the archetype, to the original meaning, to the labyrinth, as a sign of intelligence that is founded not on the possession of the sources of Mediterranean civilization, where music, song, gestures, signs which express vibrant emotions, that are nourished from the secret hum ours of the earth.
Not a cold transaction of the intellect but a sort of meeting with the emotional fluxes of matter.
The labyrinth, is a initial way, according to tradition, that does not concede the privilege of sight nor that diaphragm from features not thick and rigid, but changeable and shaded, in which there is unrolled an event shaken by deep emotions.
The killing of the Minotaur is not apotheosis or triumph, but a contained intimate sorrow. Arianna becomes the palpitating, disoriented,
passionate character. The choreographic installation is not linear, it is multiple, with spirals and vortex; the rhythms of the dance multiply space and make it flexible and indefinite.
The all consuming doubt predominates over the rigid and incontrovertible stereotype. Ilario Luperini


Imterpreter dancers:

Minotaur: Nuria Sala Grau
Arianna: Flavia Bucciero
Teseo: Silvia Fontana
Young people: Simona Baracico, Eva Berti, Ignazio Nurra,
Ilaria Sabatini.

Music: Eugenio Colombo con
E.CO: Ensemble per l’Esperienza Contemporanea.
Mezzo-soprano: Silvia Schiavoni.
Stage design and Costume: Beatrice Meoni.

Coreografia e soggetto: Flavia Bucciero
Collaborazione alla coreografia con il Bharata Natyam: Nuria Sala Libretto: Silvia Schiavoni e Flavia Bucciero
Prodotto dalla: Compagnia Movimentoinactor

 

Creation of 1998-1999 Selected Performances:
Research of the Labyrinth 23-24-25 October 1998