Caliban Cannibal |
Animale Politico Project
motus 2013 ||| 2016
After The Tempest, A journey and a Temporary landing, A lightweight emergency tent is quickly installed in the empty zones of public and private spaces: from squares, to parks, to malls, all the way to the theatres. A suspended and transitory non-place inhabited by two improbable characters: A+C: They are together by chance and for necessity, landed in this shelter after tormented events of actual and existential wrecks, great gestures and frustrated claims. They try to have a dialogue without speaking the same language, they try to tell their stories, mixing Italian, French, Arabic..
a massacred English. They try to support each other without having the strength to actually do
it all the way to the end. “A” could be Ariel after The Tempest, aphasic and narcoleptic, in full confrontation with a freedom sought after in slogans, but fundamentally feared. Fragile like the chrysanthemum, “the flower of the dead”, that she has brought with her. “C” could be Caliban after the island's explosion, after the attack on Prospero. After the fireworks/After the Tunisian "Revolution". The journey. The landing in the Brand New World, the smell of trains on the hands. Furthermore a box full of books: not Prospero's books, his books, underlined, learned by heart .. The bomb expert”, even though he writes in the hated and beloved language. Absorbed by imposition and badly digested. Cannibalized by the anxiety of knowledge. Always more. In order to find new words. New/ancient words. The contact between A and C is like lightning. A new master? No, simply a brother. The Shakespearian relationship is flipped. That were the prerequisites for the fiction we would work on but during our rehearsals all attempt to follow the script has been devoured by the Actual Time, by the power of the meeting we lived “in vitro”, among the thin linings of the tent. Osmotic filter to the world. Each word, each gesture is filmed by two one shot cameras: from there is born a piece of filmed poetry reflecting their most intimate look.
Silvia and Dalì have thrown themselves into the camera’s “occhio belva”, actually inhabiting the space, to truly get to know one another, to try breaking the limits and “transforming carbon dioxide into oxygen…” Violent Flowers. They wear on their bodies pieces of crossed worlds, remains of desires, now piled up in a corner of their refuge. A shelter, a shack? An elsewhere without solid foundations. With the risk of being destroyed by the first tempest. But in any case, what’s the problem? We move without actually inhabiting, we inhabit without questioning the stability.
To be a fracture of time and space.
INSTANT COMMUNITY In “Nella Tempesta”, the blankets used on stage and brought by the audience are later donated in every city hosting the performance to associations assisting migrants. Similarly, the emergency tent, beyond the intrinsic meanings it evokes as a symbol per se, becomes a material object to be used for other ends. It doesn’t die with the performance. It is an ephemeral place that can be quickly set up at Festivals, occupations and political initiatives, to develop in it all sorts of activities. It can become a space for meetings, readings, conferences… other artists can also invest it for little performances or video installations… it can host those who do not have a home or a workspace or it can simply become a playground for children. A moving heterotopy.
This is our way of being in the artistic landscape, to roll out a carpet, to build a shelter, to always have a base that distances us, a step back that underlines our identity, without, however, zipping up the tent. To leave breath for sharing, for passage and, most of all, for hospitality.
Motus continues its journey within the 2011>2068 AnimalePolitico Project with another “encounter with extraordinary people” after The Plot is the Revolutionwith Judith Malina – who continues to believe with fervor in the “Beautiful Non-Violent Anarchist Revolution”. This time, with Mohamedali Ltaief (Dalì), who has been an active member of the “Tunisian Revolution” – that he does not define as a “Revolution” – and who is profoundly disappointed, but who has not given up… Like us.
If I think about MOTUS, I think about the performances like Alexis a Greek Tragedy
and Caliban Cannibal, masters in the Art to make tangible the politics in us,
in our thoughts and bodies by lucidity and poetry, thank you strangers.
Artistic and managing director of the Theatre Festival SPIELART Munich
"Doch wo wollen KünstlerInnen explizit Aktivisten sein, oder, um im Modejargon zu bleiben,"Artivist"? Wie zu vermuten, erlebt der Artivist seine Hochkonjunktur derzeit in den Ländern des arabischen Frühlings. Dass der Artivismus auch als eine Art Sackgasse erlebt werden kann, bezeugt der tunesische Berber Mohamed Ali Ltaif in einer Außenstelle des Festivalwochenendes, an der Schwere-Reiter-Straße. Zusammen mit der italienischen Performerin Silvia Calderoni begibt sich der bildende Künstler bei der Performance "Caliban Cannibal" in ein Notunterbringungs-Zelt. Caliban, so heißt der vermeintliche wilde Sklave in Shakespeares "Sturm", Ltaif ist hier der vermeintliche Artivist. Im Zelt, nach Außen per Video übertragen, stellen die beiden sich existentiellen Fragen. Ltaif macht keinen Hehl aus der Sehnsucht nach einer Kunst "weit weg von der Politik". Doch die Revolution und ihre Folgen erlauben kein abseits bleiben. Ein intensiver, zärtlicher Film entsteht, der den Austausch dokumentiert Calderonis Angst vor der Freiheit begegnet Ltaief’s Melancholie ob einer postrevolutionären Realität, die seiner Kunstvorstellung die Luft raubt.."
Das Art In Resistance Wochenende beim Spielart Festival 2015 in München