...il fuggitivo non è mai sazio d'ammore...
Come è accaduto che ho perso la strada?
Cos'è che ci fa lavorare a volte con grande facilità altre con blocchi insormontabili, come se non l'avessimo mai fatto, completamente disimparato?
Anche la creazione è una questione tecnica?
E' mai possibile che io non riesca a trovare la forma di questo strazio?
straziare, strappare via dalla terra. Deraciné.
Una nave che si allontana nel buio.
nuova parola chiave: la tibki
wain msafer, u'a tsafer
akher marra b'illak haik
Ya ha addaye' min lallak innu mannu hawn al kawn
lacriamiamo
tutti
le prime parole
le ultime
piccolo sognare le radici che ci trattiene qui
Evadere - escape
Dimmi di che marca vuoi la radio e io te porto
Tell me what make of radio you want and I will bring it to you
se lei pungente
lei viva lirica
tenero ghiaccio provasse
Piccolo sognare le radici, che mi trattiene qui,
dilavato di sangue,
a nessuno visibile ormai,
in balìa della morte
KLEINES WURZELGETRAUM, das mich hier halt,
blutunterwashen,
keinem mehr sichtbar,
Todesbesitzs
Tu getti a me che affogo
oro:
forse si lascia un pesce corrompere
DU WIRFST MIR Ertrinkendem
Gold nach:
vielleicht labt ein Fisch
sich bestechen
Notte piccina: se tu
mi accetti, mi accetti,
lassù
tre cubiti di dolore sopra
terra:
tutte le vesti di sabbia
entro cui si muore, tutti
i vani soccorsi,
tutto, ciò che ancora
con la lingua ride
KLEINE NACHT: wenn du
mich hinnimmst, hinnimst,
hinauf,
drei Leidzoll uberm
Boden:
alle die Sterbemantel aus Sand,
alle die Helfenichtse,
alles was da noch
lacht
mit der Zunge
Sparato dentro la pista di smeraldo,
io nido di larve, di stelle, con tutte
le chiglie
ti cerco, fondo insondabile
EINGESCHOSSEN
in die Smaragdbahn,
Larvenschlupf, Stenschlupf, mit allen
Kielen
such ich dich,
Ungrund.
Neri,
come la ferita del ricordo,
gli occhi ti cercano scavando nel Kronland
che il cuore stringe con i denti, poichè rimane il nostro letto:
questo cunicolo devi attraversare -
tu l'attraversi.
Nel senso
del seme
il mare ti copre di stelle,
nell'intimo, per sempre.
Il dare un nome ha un fine
è su di che io getto il mio destino
SCHWARZ,
wie die Einnerungswunde,
wuhlen die Augen nach dir
in dem von Herzzahenen hell-
gebissenen Kronland,
das unser Bett bleibt:
durch diesen Schcht mubt du kommen -
du kmmst.
InSamen-
sinn
sternt dich das Meer aus, zuinnerst, fur immer.
Das Namengeben hat ein Ende,
uber dich werf ich mein Schicksal.
I think it is important, usefull to launch texts into the net. Someone who needs them can found them. It is something more shared, put at disposal.
Circulating poetry.
E' importante e utile lanciare dei testi in rete, qualcuno a cui servono può trovarli.
E' sempre un cosa in più che si mette in condivisione, a dispozione.
Materiale, poesia circolante.
2G73
Tonight we had dinner all together here, in our theatre. We had also a guest, Pati, who came to speak to us about migration, in his experience as son of emigrant and as political militant, working for political refugees.
He speaks about many different historical and present migration, from and to Salento. Many many names, dates details.
A sentense of him impressed me:
Even if in the future, nobody, of our sons, of the next genereations, will speak Griko anymore, stones will do.
Stones here will speak in Greek.
He refers to the fact that the most part of the toponyms we have in this land are Greek. While this Greek dialect that our land stills keeping, is getting lost, little by little.
The work on training is never much intense in these days. Wether is very hot. We pour sweat all together.
Patuanchin, Motions, In Mex Tli.
We start to learn some songs, Italian songs, in a circle.
In the afternoon we restarted with a fanciful stretching, with the stimulous of some music (recorded of corse. Oh, if there were musicians working with us, or we ourselves, remember Milon Mela?)
Then we continue to work about learning songs. Albanian and French. Enton with men and Camille with women.
Then we continue to sing with Fabio and the guitar trying to learn one more Italian song.
Fabio asked us to say, to share some of the images we've chosen in these days.
Many common images. I have also chosen objects, words and other elements.
In the morning, during the training I had a very ridiculous image.
From the film by Fellini I chose an action of one clown taking out a never-ending handkerchief.
As a personal memory I chose a memory of mine regardind my grandmother crying very desperatly, and drying her tears with a handkerchief. Then I remembered that tomorrow is her birthday. I thought about the song Gorizia, that speaks about this day, 5 of August. One of my grandmother's names was Trieste.
Then I thought: And what if in that moment, among all those tears, she had put her hand in her pocket to take out her handkerchief, and it magically started to become longer and longer and longer?
How different things could have been.
Can theatre do this magic? Can it change our feeling towards our memories, even the most painful?
Third day.
We clean the space together every morning.
The atmosphere is strange, gazes are a bit lost, worried.
Motions, not very good today, we lost the common ruthm. I still need a very slow intantion in this work, or maybe not.
We spoke for a while about migration. Almost everyone spoke about his/her own experiences.
Different places and periods. Grendparents, parents, personal experiences.
Someone of us is still hanged to common places, to too easy words, to generical discourses.
In the afternoon we restarted in avery soft way.
We have prepared a big paper sheet on which each one of us wrote the name of the place of birth of his/her 4 grandparents. Then their names.
We are going to drow a map of our world. And if we join the dots of this map, what shape will appear?
Then Patuanchin, opening of the chest, work on the column, the snake.
We watch Th Clowns by F. Fellini. I found many, many elements, my comrades did not and I found that strange.
We continue to speak with Fabio.
The huge sustantial difference between humor and comicality.
Satire, relationship Satire-tragedy. Tragic authors used to write satires too. The put in scene of tragedy was combined with satire and other elements too.
It must be hard
Today the journalists follow almost the whole work.
We start with motions, rythm is qiuete fast. I missed the work on Motions in these laste period. I have always new sensations, new knoledges, today I discovered a new part of my feet plant. I feel a need of an extreme calm in doing Motions, of an extreme care for each detail, each breath. Proximity to stilness gives a strange dizziness, as if a a byss opens into time, a vortex of energy.
Patuanchin. The attention of the journalists is very high during all the morning.
Kalaripayattu. Very few times.
In Mex Tli, quite long, quite good.
We had a little break to change our wet clothes.
The we sat in a circle and Fabio asked us immediately a keyword, so to clarify that the work on keywords, or even on words, come out from the work of the body, that is not a mental process of evaluation and choice.
My keyword is Haram.
It was just the first sound that came to my mouth in that moment.
We have a break of 3 hours.
During the break, Naima, journalist from Germany, stopped me and asked me: “Where are you from?” She's from Morocco. She was surprised in hearing my keyword in Arabic. “Does she know Arabic? Berber, she answers.
I told her about my half blood. She says “It must be hard”. I answered simply “It used to be hard, now it is not”.
Is that exact? Is it hard for her? Was it? What is hard?
We restarted at 4 with some stretching and then movement in the space. Fabio conducts the work on stops.
No one smiles.
The attention in who is watching us started to drop down. One of them trys even to sleep.
We forgot to work with our intention towards the external, gaze and intention are all into the group.
Capovote indietro. Movement of laying down, rolling nad standing up again, in the space.
We stand in two parallel lines, we worked again with the music of the Cd, seated then standing, then the movement became the basic step of the Srilankese dance.
We layed down.The airone of the Qi Gong.
Very little break.
Work on rythm and sound. Today each one of us has an instrument to play, a percussion instrument.
I feel very sad about that. In addition to a sort of frustration. Sadness most of all, for many reasons.
That's why when Fabio told me, later, during the singing, to don't laugh, I was very surprised. I wasn't in the mood to laugh at all.
How can I overpass my difficulties with my voice in this way?
Something broken since long.
Aug
03
Rythm
We started today the work with this new group, to realise something, an event related to the matter of migration.
Our first enemy: rhetroic. I'm very afraid of that, since many many people have spoken and speak about migration in theatre and cinema as well. Our eyes are full of images so used, so abused, common places, stereotypes.
Will we be able to overpass this level of easy representation? It needs a really big effort.
Our first day of work started with quite a good training, not very intense, but carefull and concentrated. A good level of attention and intention.
Patuanchin, Stretching, work on the column into two groups (three circles and sticks).
Then In Mex Tli. The rythm is quite calm and slow, not extreme.
Rythm is one of the most important issues of this workshop. Rythm as first, basic, vital element.
During In Mex Tli, for me it was a continuous struggle. A fight against the general slowing down and drop of energy, against the acceleration of someone.
I still live it as a struggle.
After a very little break, we restarted with Fabio conducting a phase of work more specific on rythm, music and singing. We followed first the music of a cd with a movement of walking seated, the we sat all on the benches and we tryed to work following the rythm of some other recordings proposed by Fabio.
We had some technical problems in the realisation of this work, which made the energy of the group fall down quickly. It is not easy to deal with a work that proceeds by attempts.
Fabio asked whether we have chosen any song. I've chosen a song by May Nasr.
She is important.
I have many many images in these days on which I would like to work, many dreams.