fuoricampo

Director: Guido Mannucci
Dramaturg: Riccardo Novaria
Music: Henryk Górecki

Performer: Lucia Mauri

A production of La Lucina Company, supported by Inteatro Villa Nappi / Marche Teatro; AMAT (MARCHE)


Duration: 50 min
(Video projection and Dance)

fuoricampo is everything that happens outside the visual field but reflects what is visible: it's what makes thinking about what has to be seen.

In a continuous proliferation of images, of visual information, that overstimulated bodies, we would like to replace a single body and its gaze at the centre: taking a point of view that is never innocent, but always located, modulated.
fuoricampo represent a lost body, a look that is personified - embodied - that can’t be represented in an intangible reality - nonhuman-.

A body moved by its look is reconnected with its oneiric and archaic dimension, with its own imagination, filtering the reality to the point of deforming it and handing back to the public transfigurated.

the music

fuoricampo is designed on Symphony n. 3 of Gorecki. The music determines and impacts the performance; it’s a stance regarding our desire to put back and live the process and the recognition of loss from the point of view of care and restoration.
The Symphony n. 3 of Gorecki or “pained songs” is a piece with a contemplative and slow character. A long threnody structured in three-movement. The music gives a sense of unity and represents an immersion in the tragedy to give it back transfigured and affirmed it at the same time.

the scene
The space and stage are empty. During the piece, the dancer describes with her movements a big circle and also interacts with it. For every movement of the Symphony, there are three different declinations of the look:
The first movement is about stillness and statuary pose; The second movement is a dynamic sequence built from the circular movement of the head; In the third movement, the dancer took the central space of the circle: in the final part, she’s turning around herself continuously, evoking with the torso, head and arms, postures e signs of ecstatic dance.

This piece is a path to a rituality, not formal or prominent, but suggested from postures and signs of the common memory.
The choreography is essential, it chooses stillness rather than dynamism, and it asks the audience to pause, to rest its gaze, to stay with the body under its eyes.

the video

The fuoricampo is realised through a video that continuously crosses and interfaces with the scene. It is made by images with a nonhuman perspective: we mean the kind of images that cannot be generated by the human gaze but only through artificial devices that use a mode of vision that is impossible to embody. We use vision modes such as those that store and visualise the world through surveillance cameras, military drones, satellites, thermovisors, detection and recognition programs, 3D modelling and rendering, profiling etc.

The video multiplies the points of focus and concerning the performer triggers the mechanism of invertibility of the figure background. The viewer's gaze is mobile, overstimulated, an active creator and manager of the personal recomposition of meaning, a witness to the conflict taking place and a generator of relationships between what is divided.

The result is a performance in which everything is always and again "myse en abyme", a work of deconstruction and requalification of the image, reconnecting the knot between ethics and aesthetics.