ELEGIA (o delle cose perdute)
I was whole and all things were natural and confused to me, stupid as the air; I thought I was seeing all and it was only the outside rind. If you ever become a half of yourself, and I hope you do for your own sake, my boy, you will understand things beyond the common intelligence of brains that are whole. You will have lost half of yourself and of the world, but the remaining half will be a thousand times deeper and more precious. And you too would find yourself wanting everything to be have to like yourself, because beauty and knowledge and justice only exists in what has been cut to shreds.
(Il Visconte dimezzato, Italo Calvino)
Blessed are the moments,millimeters and shadows of the little things.
The choreographic project Elegìa delle cose perdute (Elegy of Lost Things) is inspired by a corollary of readings which are predominantly existentialist and introspective. Among them Alcesti (opera of the most humanist among the Greek dramatists) and Jentu (inner query of Don Quijote, an unsung hero) are part of the final phase of the company's production.
Among the literary productions from which the project takes its inspiration, three emerge in particular: The Trilogy of the Ancestors by Italo Calvino, Nausea by Jean-Paul Sartre and above them, Os pobres by Raul Brandao, from which the project draws its parable of events.
The landscape evoked by these literary references, on the edge between raw, sour, dreamlike and illusory, reflects a nostalgia, a Sehnsucht, a memory as matter that traces back our roots and identity and, at the same time, the separation from them and the feeling of moral exile that arises from it: a dream of impossible returns, anger facing the time that annihilates, a send-off from what is lost and that has marked the map of our inner journey.
In the investigation about the topos of exile, our desire is to explore, beyond its merely geographical meaning, the moral condition that concerns anyone who may feel alien to the world in which he/she lives, placing him/her in a state of suspension between past and future, hope and nostalgia. The desire that nostalgia carries along is not actually the desire for a static eternity, but for ever newer genesis and for a place that remains, a place where you experience a rebirth as a living matter, that helps you to resist, to last, to change, a place where you can go without ever arriving, infinitely.
(crediti provvisori/provisional credits)
progetto, regia e coreografia
project, direction and choreography
creato con e interpretato da
created with and interpreted by
Amina Amici, Lucrezia Maimone, Simone Zambelli, Damien Camunez, Manuel Martin, Miriam Cinieri, Gabriel Beddoes
e con la partecipazione speciale, al progetto filmico, di
and with the special participation, to the film project, of
Loredana Parrella, Alessio Rondeddu, Sara Angius
collaborazione alla drammaturgia
collaboration to the dramaturgy
Massimo Gasole/Illador Film
Elena Ledda, Simonetta Soro
segreteria di produzione
Maria Elisa Carzedda
Tersicorea T Off (It), La meme balle – Avignon (Fr)
in collaborazione con
in collaboration with
CASA LUFT, Arca del Tempo, Cooperativa Specus, Comune di Settimo S. Pietro, Comune di Selargius, Comune di Sinnai, Regione Sardegna
con il contributo di
with the contribution of
INTERCONNESSIONI/Tersicorea T Off, PERIFERIE ARTISTICHE - Centro di Residenza Multidisciplinare della Regione Lazio - Supercinema, Tuscania
con il sostegno di
with the support of
Soprintendenza Archeologica, Belle Arti e Paesaggio per la Città Metropolitana di Cagliari e le Province di Oristano e Sud Sardegna, Regione Piemonte, MIBAC - Ministero per i beni e le Attività Culturali