creation 2009 / 2010
   
 

I AM THAT AM I

 
 
 


project, realization
Kinkaleri / with Anna De Mario / theoretic advice Lucia Amara / production Kinkaleri in collaboration with Far Festival des arts Nyon / with the support of Xing / Kinkaleri is subsidized by MiBaC - Dipartimento dello Spettacolo, SRS Regione Toscana / thanks to Simona Sadrini, Luca Camilletti, Maria Caterina Frani

europe premiere: 19-20/8/2010 Far Festival des arts, Nyon / Usine à Gaz (Nyon - Svizzera)
lecture: 20/8/2010 h. 18 curated by Lucia Amara

 
 

The soul is always lived by some power, good or bad. It’s not as long as the souls are lived that they are sick: it’s since they are no more liveable. The modern world illness is for the souls are no more liveable, and they suffer from it! It resides also in the belief of being able to reset to zero the evil spirits giving as a pretext that no longer there isn’t any supernatural being. Wrong interest!

Pierre Klossowski: La rassomiglianza

I play so I am.
Lucia Amara: Prolegomeni alla glossolalia


 
 

I AM THAT AM I is based on the consideration of the warped surface that is the text “Les Bonnes” by Jean Genet. Kinkaleri never used textbook on theatre in their mise-en-scene, all the adopted texts from time to time were used to draw the incredible course of mind, that would have lead us to an action, with a single object that is the production of pathos. This time too we attain to this peculiarity. “Les Bonnes” is not a play-script to give voice to some actors who pretend to be actresses in that artifice, exasperated and wonderful, conceived by the author of the two women closed in this house-stage. The text is not spoken but literally hidden into the body, where, in the folds of the throat, two curtains open up.
I AM THAT AM I,“Les Bonnes” by Jean Genet phagocytised by a ventriloquist is the essence of the creation. The project is an unusual work with only one ventriloquist actress who, while acting, hides in her mouth Genet’s text, focusing the thought on the physical place where you utter words, the mouth. A play that does without the author’s imaginary, in order to suggest a performance clanged to a double level of representation. A performance dealing with spoken word, with body, both relentlessly dissenting but ready to meet and waver. A text that, not in the content but in the full shape of fiction that pretends to be and open out to the absent imagine, quits representation to give it back to the imaginable sound.

 

Ladies and gentlemen; I introduce myself to you under circumstances that explain my plea to your indulgence and defence. In a signed letter it has been stated that I’m not what I claim to be – your humble and sole performer. Then I understand, as a duty of mine, the one to convince my respectable that a person, and not three as asserted, strives for getting your approval. In order to prove I don’t LIE, I ask all the gentlemen who can be connected with the public Press to come up soon on stage and to give evidence of the several changes. Press members are gentlemen – they won’t go along with the bluff and with no phoney trick of mine, they’ll protect the audience from the deceit, if it exists, and I think they will also look after me from a vile hate, if I’m deserving their participation. (Dublin Evenenig Mail, december 10th 1824. Manipulated quote)

If I steal do you accuse me? If I pretend what do you do? If you find me in bed with your best friend could you believe it is quite a blunder? This time I’m in the middle of a wood and however I think the wood is contained in a valley closed among mountains, that is connected by streets joining cities that are seen from a satellite in the sky and that god watches everything and laughs, I think to be as inside a closet with a very high blood pressure, dilated pupils, ears open and nobody close to me. If I cough at every breath do you think I’m bad? If my sports performances improve do you think I trained? If you realize it’s late do you flee? I like drawers with secrets inside and the false bottomed of suitcases, the guns in the books. If I keep on hurting you and I hear you screaming, you think I’m sadistic. If I forget you do you remember it? Blood and Arena, a furious bull without horns. If you are hungry and don’t eat do you die? If you have not much money do you ask for handout? Certainly thinking to be able yet to look for a sense about that, even if turning the map your position is always the same, it is a loss of time. If you miss me do search me? If I look for you do you disappear? To print reflex images. If I kill myself do you save me? If you do something what do I do? Sadistic as an old doctor in a concentration camp I play a Beatles piece at high volume. If you listen to me do I feel better? Except for late second thoughts I thought to convert to the religion of the ancestors, those of Punic wars. If they open the door do you come? If I deceive myself do you rectify me? If I deceive you do you get angry? If I am a servant do you hit me? Just a little attempt to be ready without being ready. If I play the master are you scared? If I say it’s good do you try it? If I hit someone do you run away with me? If I take drugs do you blame me? Tired of rectitude I listen to the Shampoo’s records. If I twist about pain do you help me? If I lie do you trust me? If I apply myself do I solve? If I try do you try? It’s wrong thinking that every action matches a reaction. If I’m sick do you care? If I’m cold do you warm me up? Without taking part of a game, like seeing some babies, everything bores me. If I listen to you do I keep quiet? If you cry am I touched? If you are a zombie do you infect me? If you talk while sleeping do you tell the truth? If you watch me can you see me? I put in my pockets some little S as they were clearly little poisonous snake with forked tongues. I’m here, and you? It’s not true you have no talent, you lie just to give yourself an alibi.

Moses is walking out on impervious hills with the herd and hits on a bush/briar that catches fire without wearing out. When he approaches, the bush even talks and commands. Following the request of the sea’s divider to turn out, the bush answers: I AM THAT I AM.
Brion Gysin, many years later, finds this assertion to be not much refined and by making words wander about, disarranging them on the page meticulously, he makes a list of alliterations and also a sound-recording where he clangs many times the variables of I AM THAT I AM - AM I THAT I AM – I THAT AM I AM – AM THAT IIAM – AM I THAT I AM - I AM THAT AM I
Willam Burroughs, deep friend of Brion, stated in no uncertain terms that: LANGUAGE IS A VIRUS. We are the direct consequence of a monkey fallen ill with a viral cancer throat; since that day we are like “spoken”. Our body is controlled by the induced language: the mother tongue, the global economic powers.
William Burroughs and David Bowie were Jean Genet’s friends. David even thought to set Les Bonnes to music, an outstanding text for him, but nothing’s going to come of it. Bowie’s admiration of Genet remains in a song: The Jean Genie.
Last night I saw Genet’s Les Bonnes on Tv, a theatrical version… but quite at the end my husband changed program to see the football match while beating the shit out of me; I was really empathizing with those two maids who were caught, could you tell me how it goes?


     
 

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