Don't speak too much. Ascolta, voglio dirti qualcosa.
Fendu. Di troppo ingiuria. Quando non basta l'umanità
quando tropp'è l'umanità
quando anchè gli occhi
vuole di cadere
e soffre le pietre
ma
ritornera
ritorna sempre la tua cofidenza
come nello sguardo la goccia
che fa morire l'odio.
let me take your tireness
away from your eyes
I want
se levi la testa
e guardi nell'ario
che vedi?
now, chiusa gli occhi
tu le vois couler dans ton cou?
e anchè il mare,
non è mai lontano da te
Yesterday the seven, on the morning we began the day with a relaxation, what is also centered on the column (?colonne vertébrale), the breath.
Then we made the stretching on the ground, and also roulades.
Then, Pa tuan chi. The next time that someone do an exterior movement, we do it again.
After it, we have sing. After a while, a felt pain in my breast, Lenia said to me, maybe I am going to strong with the respiration.
I have problems to go in a softly way with my body.
Then we start to work on our actions.
On the afternoon, Fabio asked us to do our action one by one.
There are many things that don't work, but also it is better then at we start to work on action, I think it was to days ago.
ther is the problem of the balance between interiority and exteriority.
Also we have to surprise the sight of the public, he doesn't have to know what will happen.
problems of rythm
and if you do an action, do it until the end
just do it
("jo ha kiu")
On the evening we went to the house of Antonio, an artist friend of Fabio. I liked very much
Also journalists of babelmed were here.
The place is beautifull, full of strange (but in the same time familiar) things, and after dinner we could experiment the "sonore sculptures" of Antonio.
The water, the metal, the thread, the horne, the echo:::
La couleur vertigineuse de l'échec
du brun jaloux vers
un point funèbre.
Yesterday we made the motions, but in a different direction, using not the position in relation to the sun, but to the space, using the square of the stage in order to help us to have and to stay in good lines.
It is true that it was more simple because we could use the lines on the ground.
After motions we made directly pa tuan chi, then we did the walk of Lenia, "in in es who". I like this walk, is like a good breath.
With Roberta as leader, we broke the usual space of the stage to investigate corridors and entrance of the theater. We also did it with Lenia last time.
These are lights moments in the work that are welcome.
Then we made the snake, a long time. First in the same place, then we walk with the movement.
Then we have sing, the songs of Roberta, that are both very beautiful, Mara's moroloja, my song.
we have sing Roberta's songs with movement and it is very helpfull. WE also sung against the wall. Push.
but I always break my voice.
Also when me made the sounds, it is "katastrophi".
lenia and Roberta made the first sound alone and it was a very clear sound, also it ends in a clear way.
Also I don't remember well the parts of the ody wich are related to the sounds.
I try not to sing with the throat, to drive away the sound of this part, but it is really difficult.
There is something very sweet, above all in songs,
we heard,
we sing
like love, simply, modestly, like an answer to life.
A deep human music, instantaneous, doesn't cary only the frenzy of hope, but, in a more secret way, intimatly but not ashamed, the affirmation of an irreductible humanity
who loves
dresses wounds, singing sorrows, it treat the injuries of life, exorcizing them, out, through smile, through tears
heating heart to boiling
shout cry call
tenderly, but with the firmness of someone who loves.
now I know, why music is here the center
because
the rumour of the sea
covers moans, caries
pains, and blare of saxophone
transform bitterness
into sweetness
sweet pain
swept peal
"Wie Scherben eklingts, und ich weiss es nun wieder:
du starbst nicht
den malvenfarbenen Tod"
Difficulties to find time and place to write these last days.
Now it is maybe not necessary to write here what i have written in my own journal about what we have done the first days, because it was already said by the others, more or less.
I wonder why we don't work more.
Il faut s'habituer a trouve des elements, des materiaux.
clean our mind
be ready to receive
to be surprised by things
this means no prepared ideas.
like Fatima write, the danger also is to fall into "cliche", with the work on emigration.
don't le you imprison by think you already know, or do you think you know.
cercare in molti direzioni diversi
films, matter of our grand parents, own experiences, images, stories...
look for heterogene material
the day before yesterday we watched The Clowns by Fellini, in this way we approach the comic question, wich is a diificult point in general and in particularly in our work.
First of all, we have to distinguish comic is not the same as humour, wich belongs to enlighted burgher class.
Humour is a form of rationality.
on the contrary, comic, non è raffinata, , the clown is like an animal laughed
The presence of the sad clown in the film in this way is very strong
comic is the overpassing of tragic.
rythm in Clowns rythm in laugh
comical rythm needs long work
Arrive in Lecce the 31 of july at night. The day after begins an other month, an other work.
Astragali, Maladou, Helene, Nela, Laura, Francis, Enton, Anasatasia, Konstantina,i, gioia di essere qui. breath the warm air of Lecce.
On the next day it has begun with a conference by Fabio with some journalists, from Babelmed, the festival with wich we work on blog, but I don't understandvery well what it is exactly.
Afternoon, training. i have missed it during the last week I hurted myself a little doing it wrong, maybe because to quickly, because work alone.
then we have work on rythm and songs, both together, it is very difficult for me. But I like this very much.
we went to dinner at Zollino, the place we are going to have the performance. i didn't understand all the stories, but I think we were eating with a great communist inventor.