Paesaggio di una battaglia primo studio
Conception and direction: Fabio Cherstich
Dramaturgy: Giulia Abbate
Movements: Giulia Abbate – Fabio Cherstich
Sound, lights, video: Igor Renzetti
Costumes: Maria Porro
Technical collaboration: Irene Maccagnani
Produzione: Container Milano, Fattore k – Giorgio Barberio Corsetti, Schloss Breollin ( De) in collaborazione con PIM OFF Milano e STUK Art Center Leuven ( BE)
Gregory Carnoli – Herve Guerrisi (BE)
Chiara Favero (IT)
Joelle Franco (BE)
Francois Kah (F)
Valeria Battaini (IT)
Luca Di Martino (IT)
Antoine Plaisant (F)
Director’s notes – first study
The first study of “Paesaggio di una battaglia” is the result of two actor workshops held in two different cities. Milan and Brussels. From these improvisations focused research experiences based on images and scenarios I depicted or from dramaturgical inputs provided by Giulia Abbate sprung the need to develop an initial study calling Italian and Belgian artists to work together for a two-week residency at Pim Off. My hope was to explore the language and physical differences of the actors and together narrate the themes dear to me about the story of the Genesis: joy, shame, fear, loss. The reference texts were the Genesis taken from the Bible for the story of Adam and Eve and Cain and Abel, Stravrogin’s confessions from The Demons by Dostoevsky for Lucifer’s character and the Tales of Maldoror by Lautremont for humanity’s sin, silent in beholding the creator.
Sara Chiappori – Repubblica Milano
A journey through acts and images beginning in paradise on earth where Lucifer’s arrival overturns order. The price to pay for emancipation from God’s violence. With the birth of Cain and his progeny man sentences himself to sorrow and freedom.
Nicola Bionda – Teatro.it
The primer for this experience is the Genesis: the condition and self-awareness of a man and woman, the joy, the shame, the fear; loss, guilt and death but, mainly, body. The body as a physical and symbolic presence. The actors’ naked bodies on stage express all of man’s and woman’s fragility and beauty, an Adam and Eve embodying all the awareness of Bausch’s research on expression – the first scene of the show, the lights, colours, clothes, movements recall the last works by Tanztheater – and the strength of nudity that of some of Abramovic’s performances – in which she compels spectators in a forced and unsettling contact with nudity revealing all of man’s sincerity- Paesaggio di una battaglia is above all an outcry. The fierce outcry of need, unquenchable, infinite…it is a study with the potential of becoming a complete work leaving the doors open to a continuously evolving work.