DESCRIPTION

The four scenes of the performance are based on Agota Kristof’s story The Notebook, the first part of her Trilogy.

A tale made up of exercises played at skin level, in the dark heart of the war. A conglomeration of actions handled together with the emission of the voice, always in unison; this in turn is accompanied by the similarity of a gesture that becomes lost in dyslexic form in the universe of fables, between slowness and hiatus, waiting and omens.

The action is submerged in the darkness of night, seeking at each turn the moment of apparitions, their unspeakable root: in this sense the body is manifested through an archipelago of suspension and shifting, letting itself go to murmuring and moving by a choral voice, distant yet interior.

In being at one and the same time within and without, the twins circumscribe their actions within four scenes, defined and understood as so many arrivals and announcements: they come with gift boxes like two children playing at war; they are disguised as ancestral folk women, then emerge from their shell transformed into grandmothers confronting the tank; lastly they appear lying on the skeleton of a deer. Childhood is therefore a viaticum to play at being grown up (the mother, the grandmother, the father, power, the church) flowing into the experience of the meeting: the twins get through wartime thanks to the magic of their inhuman strength, day by day relying on a challenge beyond their strength; they put together a series of extreme exercises through small, marginal things.

It is only in time that in their bodies, in the stubborn tale of their minutely measured gestures, traces of their surroundings can be found marked on the ground: the village, the forest, the pits, the stream, the frontier, impassable limits. A legion of glances and dislocations that open out onto the wild.

Luisa and Silvia have worked on the idea of giving themselves to the form of unison, for the purpose of making voice and movement coincide according to the rhythms of recognition made up of sidesteps and dyslexia. This simple form enclosing them in a common prosody was the root of our work, the source where all diversities and divergences were to be found: to slide into dynamics measured by a system of breaths, looks, listening, waiting, in the fluctuation of the text chosen in the search for continuous senses and suspensions.
Virgilio Sieni