AENEIS #3 THE LUNG

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Yes The Lung a lonely old man on stage on the edge of the end. Giancarlo Ilari, actor with a long artistic life, sings the requiem of Anchises in a contemporary explosion that empties the agony and horror of old age of all rhetoric and lyricism. From the lung to the breath. The lung brings oxygen to the blood and removes carbon dioxide, then he throws it back into the air. A mosaic of small cells, the alveoli, then the lung stops, the breath stops the eye closes to the companions and tomorrow does not exist the sail falls, the wind is over.

In this great performative project, Lenz's visions merged with the sounds of four musicians of the international electronic scene: Lillevan, Paul Wirkus, The Ovo and Andrea Azzali-Monophon, engaged in the live performances of the individual episodes.

Paul Wirkus, author of the live performance of A #3 Lung, considered among the greatest exponents of contemporary electronic music, was born in Poland in 1967 and lives in Cologne. Dal 1990 he is acclaimed as a composer of minimal electronic and improvisation and obtains prestigious international recognition. His work has been appreciated and reviewed by magazines such as the English "The Wire" and "Pitchfork Media", the German “DE:BUG” and “Spex” and more. He played live at the Sonar Festival in Barcelona, the Musique Volantes of Paris, at the c/o pop Festival in Cologne, at Les Urbaines di Lausanne, al Vienna Modern di Vienna.

music performance live | Paul Wirkus
creation | Francesco Pititto | Maria Federica Masters
imagoturgy | Francesco Pititto
installation | Maria Federica Masters
performer | Giancarlo Ilari
light design | Gianluca Bergamini
Directorate Assistant | Elena Sorbi
production | Ilaria Montanari

A #1 THE RACE OF THE WILD BOAR

A #2 I SUBJECT TO THE WEIGHT

A #3 THE LUNG

A #4 THE DRAGONS

A #5 OF WHICH PENALTIES AND TORTURE

A #6 ROASTED MEATS

A #7 Compensation

A #8 LEAD GRAY

A #9 NEPHEWS

A #10 Various attacks

A #11 Little girl

A #12 RUTHLESS?

 

An elderly man abandoned on a hospital bed or perhaps a morgue. A text in three languages ​​that flows projected into the gray room. Remember The Aeneid, the death of his father Anchises. Image like Mantegna's Dead Christ. Tubes and tubes. Fog.
Contemporary theater usually plays on two different levels. Either the immersive one or the alienating one, which breaks down and discusses the elements of the show. Lenz Refractions follows an original path, in which immersion is obtained by decomposition, betrayal, reinvention of structures, literary source materials. In the current edition of the now historic Natura dèi Teatri festival, included since last year in the InContemporanea Parma festival network, presents not a new show but various stages of decipherment and recreation of Virgilian's poem, a different episode every time. The one I witnessed was the third, Aeneas #3. Lung, marked by the breath of the dying old Anchises, who in the first episode had been doubled as the god Jupiter.
On stage is an actor with a long experience and great skill like Giancarlo Ilari, one of the historical names of the Cut and then of the Parma Collective, class 1927. A fragile and powerful presence, desolate and flickering.
The directors Maria Federica Maestri and Francesco Pititto dissect, as usual, the elements of the show: the text becomes, in this case, projection (as well as reinvention), graphic sign as well as word. The movement in search of (last) breathing of the almost corpse that rises from the bed becomes dragging towards opaque thresholds, with an empty leash. Another of the festival's strands enters, us and the dogs, and animals, with phrases that recall the dog's ability to hear its owner even under the mound of earth in the grave.
Another of the characteristics of the cycle is the particular attention paid to sound creation, each time entrusted to a different artist: in this case Paul Wirkus' live musical performance immerses us even more in a climate of both finality and irremediable nostalgia. The face I project, like the amplified breathing of the performer, it breaks into silent memories and introspections, in a desolate melee with death that tries to steal air from the elusive life.
.
Massimo Marino, Controscene – Corriere della Sera, 18 November 2011

 


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