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<OTTO> --->
project by:
Kinkaleri
Production: Kinkaleri
In cooperation with: Teatro Metastasio, Prato, Italy; Teatro Studio, Scandicci,
Italy; Xing, Bologna, Italy.
Supported by: The Italian ministry of culture; the Tuscany Region; the European Network DBM - Dance Bacin MediterrainÈe.
<OTTO> is a vacuum: the only place where to stay.
To wait. To eye. To lift the head. To look at the airplanes. To point a finger
at them. To burst up on a worldwide broadcast. This is not a storyline. Not
to have a pronounceable word, to avoid the bewildered look of my cat.
<OTTO> is a vacuum, now, a suspension of the world, to avoid watching,
I know everything inside out by now, we are at the climax of the cruel representation
of the world that welcomes its own indecent representation. It is just a number:
eight; it is also a word meaning a number. We cannot help thinking of the end:
the aim.
- I buy it, allright.
- The whole or one third?
- The half of it.
- The half of one third or the half of the whole?
- If you see it that way, it's up to you I go and get a coffee.
- Wait.
- The wind dies, you die, we all die
- That is?
- Ninety.
- Ninety for one third.
- Ok just because it's you.
- Just because it's me.
<OTTO>
a still scene.
The presence, to show oneself; the obscenity of such an act, the pornography
of the look of the one involved, the traced paths, the components of the outcome,
they all feed those little, unutterable miracles occurring through accidental
coincidences. Only in the appalling vision of an idea the truths of a miraculous
poetry can hide. The creation itself suggests the idea of the crime; criminals
with their schemeless acts are the true artists and, on the empty stage in the
floating of evidences that disclose the traces of improbable acts, a concept
is built. To look at a body operatingly playing itself is the result of such
an effort, and we think that marvel would happen if such a deed were inverted
to mercilence essence.
INTERVIEWER: Fifteen years after "The schizophrenic
and the languages", what urged you to write a second book?
LOUIS WOLFSON: The main reason is the set of notes left by
my mother: I wanted to embody them in a book. I added the story of certain things
lived through at that time, besides my ideas on how to put an end to life on
planet earth. The title of the book points out the extraordinary possibility
of alliteration about the circumstances of her death. On the ground of my calculations,
such an alliteration had just one possibility in many millions to occur, like
a sole possibility to win the lottery. As a divine matter: my (ma) mother (mÈre),
who was a musician (musicienne), died (est morte) - all these words begin by
m - in Manhattan (Manhattan) - m still - at the middle of May (au milieu du
mois de mai), at midnight (ý minuit), between Tuesday and Wednesday (entre mardi
et mercredi), and one dies of cancer and its metastases (mÈtastases), and furthermore
at the Memorial (au Memorial) Hospital in New York City. In the end, and to
crown it all, she died on the 138th day of the year and we were living in the
138th street. One more coincidence. Before then I had reworked my first book,
which I had called "Final point to a hell of a planet", and there I proposed
the production of a quantity of nuclear bombs enough to put an end to life on
planet earth. In that second version I meant apocalypse strongly, which did
not come out fairly enough in the version published by Gallimard.
<OTTO> received the UBU Award promoted by the Patalogo edition as best
dance/theatre creation of the year
VIDEO MEDIATECA http://www.mediatecatoscana.it/catalogo/vedi_risultati.php?t1=NAAUAF00033062