|Year / Length:||2020, 70' (world premiere)|
|With:||Evelina Rosselli, Rebecca Sisti|
|Scenic elements:||Giuseppe Stellato|
|Supervisor to the sound design:||Franco Visioli|
|Sound design:||Riccardo Marsili|
|Light design:||Fabio Bozzetta|
|Interaction design:||Andrea Spontoni|
|Tutor of the project:||Antonio Latella|
|Production:||La Biennale di Venezia|
|Artistic residency:||Carrozzerie N.O.T - Rome|
|With the support of:||Associazione Ex Lavanderia di Roma|
|Taken from:||OGGI AVREI PREFERITO NON INCONTRARMI by Herta Müller © Giangiacomo Feltrinelli Editore Milano S.r.l. First edition in “I Narratori”, June 2011|
Paolo Costantini - Uno sguardo estraneo ovvero come la felicità è diventata una pretesa assurda
The objective of Uno sguardo estraneo ovvero come la felicità è diventata una pretesa assurda was, rightfrom the start, to enquire into language’s performance quality, man’s relationship with happiness, how this is bound up with our conception of time, memory, the relationship we have with the objects we share our everyday lives with. Individual perceptions of time determine shifts in the concept of happiness, its depersonalisation and a consequent self-fragmentation.
These are subjects which are not easy to talk about. They are issues I have been questioning myself about for many years. The guideline for this work was Müller’s text I Hope I Wouldn’t Meet Myself Today. Herta Müller’s writing is made up of an abundance of images with language being used as a collage or fresco.
The overall sensation prompted by the novel was of a limbo. A limbo pain zone, less a violent hell than latent violence which periodically bursts through overbearingly, like in life. The sensation is precisely the opposite ofthe happiness theme we decided to take on.