(leftovers, shadows, auras, haloes, stains)
Similar to a snail shell, to an orthodox church, the performance space is articulated
in different rooms, different stations.
The very first room is conceived for your eyes only: the first station is the inaudible music experience.
The visitor can stand, move around or lay on the floor.
On four big screens, different details of the pianists’ naked body are projected.
Every muscle and body part contributes to the organic movement in the act of playing:
here they are silently shown in detail, represented, performed.
They become synecdoche of the whole, abstract energy, sheer “physical” music.
The second room is for the ears only.
The pianist is heard, but not seen.
The performer’s body is present in this blindness: embodied, incarnated, made flesh by the act of listening.
Once again, one can stand, move around, lay on the floor, listen.
In the third and last room, the pianist is a physical presence.
Here again, there are several, different and articulated levels of closeness to him.
The last stage of intimacy is represented by interaction: by taking the responsibility of helping to shape further the development of the play.
marino formenti 