SONAR STROMENTI E FIGURAR LA MUSICA

Getting to the painting construction is not the purpose; what we are searching for is a way of performing that considers the body as a mere instrument, on a par with a fabric or a basket. The single actor on scene makes sonic actions, actions that are part of a musical score in which each movement depends on a mechanic, on a gear where everything is absolutely necessary. Nothing is left to chance and nothing is superfluous.
The construction dynamic has its balance in the half of a musical suspension, in the screen brag of actions that are in progress and force the body to an alive and kicking muscle tension. In this research, for Teatri35 Caravaggio has been a providential discovery and an instrument for regaining theatricality, because he let the laboratory be transformed into a performance where the body, caught during its intrinsic imperfection, reveals itself through the modest light and shadow play and, therefore, unveils without displaying.