Muta Imago

LEV

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7, 8, 9 november, h. 20.30

PALLADIUM

A man opens his eyes. He looks around. There’s little light; he can’t make out where he is. He measures the space around, he counts the steps, he approaches the wall, searching for sounds.
He puts his ear against the wall. The lights explode, the walls turn into mud, and amidst the shouts of his companions and the flying bullets, the man throws himself on the ground.
And he starts remembering once again.
Lev was wounded in the war. He didn’t die, but when he opened his eyes things were no longer the same. The world around him has become an enclosure of undecipherable forms. The rules that drive reality are unknown. Space and time no longer flow along predictable lines. Memories come suddenly and as suddenly they go away.
Muta Imago starts off from the diary pages of Lev Zasetsky, a Russian soldier and patient of the neuropsychiatrist Alexander Lurja, to deal with our conditions as human beings and to talk about our incessant attempt to rebuild what has been lost, our identity, our memory, utilising disorderly fragments. And it does so with a politically provocative approach, with solid existentialist overtones veiled by a dose of irony and even self-irony.
A show that develops through flashing images, not unlike those that suddenly take shape in Lev’s conscience, unannounced. A dramaturgy made up of desperate gestures that struggle against a constantly dissolving universe, played out against a backdrop that is akin more to a contemporary art installation than to a traditional stage setting. The intonations of the uttered word struggle to find a meaning long lost in Lev’s mind. A meaning lost only in Lev’s mind?
“…to awake from this deep slumber, to break free from this desperate stasis of the thought, from the infinite bewilderment of word enclosures, in a world of thought unexpressed”: These are words found in the opening pages of Lev’s diary, which on stage, going beyond the mere clinical dimension, acquire the value of a metaphor of the present, of existence, of man’s sentiments and of his sociality. Lev Zasetskij’s unwilling poetry does have the colours of a conscientious, unexpected and rather disquieting optimism.

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Riccardo Fazi, Claudia Sorace, Massimo Troncanetti know each other since always. They shared school benches and theatre workshops. Then they departed from each other, each one in order to follow his/her own indipendent education, each one in order to grow up on his/her own. When they met again, Riccardo was writing, Claudia was directing and Massimo was building installations. In Rome, 2004, the group is born. In 2006 they meet Glen Blackhall, actor, an old acquaintance himself. Together with him comeacqua is born. In 2007 (a + b)³ arrives.  Today we provoke matter, in order to reflects on the possibility of deepening and dilating the space and sense passages traceable in reality; to make appear on the surface stories and moments that could reconstruct a lost unitariety, that can still be found in the human being.