The Ritual

Rags of memory
2013

Direction and dramaturgy Anna Dora Dorno
Songs original composed and from Italian tradition
Performer Anna Dora Dorno, Nicola Pianzola
Original music Riccardo Nanni
Video Salvatore Laurenzana Photos Francesca Pianzola
Installation Anna Dora Dorno, Luana Filippi
Production Instabili Vaganti

Supported in residency programme by
BAUHAUS FOUNDATION of Dessau, Germany
GROTOWSKI INSTITUTE of Wroclaw, Polonia
HOOYONG PERFORMING ARTS CENTRE S.Korea

The memory finds its justification of being until is present a conscience able to evoke it and make it actual again, free from the forgetfulness of the death. But every new evocation foresees a deformation of the original action which is updated.

The performance is the most representative of the whole International performing Arts project Rags of Memory, and is the result of a continuous process of research and elaboration of performative materials coming from the Italian and Mediterranean tradition and from the cultures of the countries in which the project has been hosted: Korea, Mexico, Armenia, East and North Europe countries. An original composition of live music, actions, songs and video-projections composed each time in an original and unique way according to the place and the context in which the performance is shown. The scene is structured in a space which assumes the symbolic value of a sacred garden: three circles of lights in which we find different elements: stones, soil, rice. Three essential colours: white, red and black. Three video projections in which appears a woman as bride, mother, widow, representing the three fundamental concepts of the human journey: life – phatos – death. A man is performing actions in which the body finds again its energy and the totality of its memories, expressed in symbolic and poetic words, which are embodied, awakening a memory asleep under the skin. The man crosses again backwards his way, which is the one of the entire humanity, a journey inside his soul that pants to the jointure with the nature and that aims to the synthesis of the gesture, the word, the sound. A cyclic and repetitive path fixed in the eternity of the ritual. A man and a woman perform parallel actions without conjoin except in a moment of love that generates phatos, pain, because is a present moment, real and obliged to feel: smell, thought, soul, life, love, death, absence. A body revealed in its living essence, red, of flesh and blood, captured in the instants of the contortion through photographic fragments projected in video, hold in an eternal embrace by the sweet melody of a carillon. The ritual of the mourning does its entry, as the founding element of life, and not as a sterile memory of something in disuse. The dance generated by the ritual steps becomes rhythm, the melody of the song becomes a dirge able to touch. Ancient lamentations appear in the present: the demand of a new rituality begins to appear in the dream and stays in suspension, evanescent as the face of Euridice, revealed and sad, that in the myth disappears in the fog, as in the performance disappears in the evanescence of the last video projection. What remains is an old man joking with the Death, because at the end everything ends, but something remains: the rice that germinates, the earth that regenerates, the water that flows, the life that born again.