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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, a backpack and a hard disk full of videos and shots for a documentary on the Tunisian and Egyptian resistance,
a work in progress …

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Caliban Cannibal
AnimalePolitico Project
performance
motus 2013 ||| 2016 ||| 2068
 


by Enrico Casagrande and Daniela Nicolò
with Silvia Calderoni and Mohamedali Ltaief
installation & art work Mohamedali Ltaief
video Enrico Casagrande, Mohamedali Ltaief, Andrea Gallo and Alessio Spirli
a video contribution from the documentary Philosophers’ Republic by Mohamedali Ltaief and Darja Stocker
Photography Andrea Macchia
+ Valeria Tommasulo
assistant director Ilenia Caleo
translation Nerina Cocchi
production Elisa Bartolucci
organisation Valentina Zangari
+ Silvia Albanese
distribution abroad Lisa Gilardino
press office Sandra Angelini
production Motus 2011 > 2068 AnimalePolitico Project within the Ateliers l'Euroméditerranée Marseille Provence 2013

with the support of Santarcangelo•12•13•14,
+ Face à Face / Paroles d’Italie pour les scènes de France
+ Angelo Mai Altrove, Roma + ESC Atelier Autogestito, Roma
 

 

Furthermore a box full of books: not Prospero's books, his books, underlined, learned by heart, year after yea: Arab poets!! .. of course, “Foucault! 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.

  Caliban Cannibal.  Mohamedali Ltaief & Silvia Calderoni. Teatro Astra Torino. 2014

Caliban Cannibal. Mohamedali Ltaief
& Silvia Calderoni.
Teatro Astra Torino. 2014

 
 
























































































































































































































































































































































































































































 

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.

  Caliban Cannibal.   Teatro Astra Torino. 2014

Caliban Cannibal.
Teatro Astra Torino. 2014

  Caliban Cannibal.   Video. Silvia Calderoni.  Teatro Astra Torino. 2014  

Caliban Cannibal. 
Video. Silvia Calderoni. 
Teatro Astra Torino. 2014
 


Ltaief plays the main male character “Caliban”, the “Negro” within an adaptation of the Tempest; "une Tempéte" by Aimee Cesaire, inside a conceptual Tent side by side with the Italian actress Silvia Calderoni who plays the role of "Ariel". Its a performance visually and textually improvised and conceptualized by Ltaief and Calderoni, diecting By Enrico Casagrande and Daniella Nicolo.

Within the play, Ltaief stages a visual/video installation inside an emergency tent, presenting a map built of texts and videos features documentary and different figures within different “individual tempests”: The ones by Shakespeare, Césaire and Edward Said but also the Actual Mediterranean storm. Two minimal cardboard boxes serve as screens, where the imagines from inside the tent appear, filmed by two surveillance cameras.
One screen shows the the real time, the other one a fictional time. 
 

  Caliban  photo-montage. Mohamedali Ltaief. Rimini. 2015   

Caliban
photo-montage.
Mohamedali Ltaief. Rimini. 2015
 


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 Dalì, who has been an active member of a “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! 

Tilmann Broszat
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 Ltaiefs Melancholie ob einer postrevolutionären Realität, die seiner Kunstvorstellung die Luft raubt.." 

Tobias Krone
Das Art In Resistance Wochenende beim Spielart Festival 2015 in München
nachtkritik.de

  Caliban Cannibal.   Black box Theater. Oslo. 2015  

Caliban Cannibal. 
Black box Theater.
Oslo. 2015
 

  Bombardamento Nomade . Mohamedali Ltaief with Meen One. Angelo Mai. Roma. 2014    

Bombardamento Nomade. Mohamedali Ltaief
with Meen One. Angelo Mai.
Roma. 2014

 

Le Nomadisme comme une Forme de Résistance (Nomadism as a Form of Resistance) was the title of the “MucchioMisto Workshop” that Dalì organized with us in Tunis in 2013 (as a parallel action to the World Social Forum). But Dalì is not an actor. He holds a diploma from l’Ecole des Beaux Arts de Tunis and is currently a researcher in Philosophy, he lives a permanent struggle with the bureaucracy of the “Lands” in order to be able to move freely.   
 

  Nomadism as a form of resistance.   Cinema Mondiale. Tunis. 2013.

Nomadism as a form of resistance. 
Cinema Mondiale.
Tunis. 2013.



BIG THANKS TO



Esc Atelier Autogestito
S.a.L.E Dock Venezia
 Teatro Valle Roma
Teatro Angelo Mai Roma
 Cinema Mondiale Tunis
Roberta Da Soller
 Darja Stocker
 Alaeddin Abou Taleb
 Zied Dhaouadi
Habib Belhadi
Amor Ghedamsi
Ghawth Zorgi
Simona Bonomo