2009
Santarcangelo 39
I can’t tell whether this is a commonly shared experience, but whenever a sound moves me, then I see. To tell you the truth, nothing changes in the area surrounding me, but the shape of my thoughts; sometimes a story comes out, but it immediately disappears; sometimes a small tear is opened and the world becomes visible again, only filtered by a sort of amnesia. Everything happens very suddenly and for a very short time, just like a bird song, it begins and stops, immediately absorbed by the higher leaves from which it came. Nothing is nearer, nothing is clearer, but space, which was unchanged, undergoes a movement which the memory can store. Yes, the leaves were singing. I refer to the concrete action, to the complete presence, without a before and an afterward, the aesthetic experience and not to the ascetic contemplation. Seeing a sound. Seeing versus believing. For some of us sound can conceive and express the strength of a space, just like a machine coming out of the soul, it can make it possible, visible; this is what happens with the theatre, with the first light appearing on the stage, which is capable of creating a place filled with promises.
Santarcangelo 39 starts here, from this perceptive angle borrowed from music and the theatre is the room where all metamorphoses caused by the exchange between feeling and seeing occur. Just here, in the first Italian city which, even without a single theatre, managed to establish a theatre festival thirty-nine years ago, artists are invited to occupy its gardens, houses, and corners. The widening and the bending of their vision don’t cause the creation of new areas, but it is possible to see what was already there through new eyes. For this reason we will occupy Santarcangelo, and, in order to see it as being “immense”, we will have to walk and move along the routes marked by the drawing of the works which will be materialized only here; as a matter of fact, works will remain unknown, hidden inside the artists’ imagination until the day they will be displayed. We will walk along the areas by using the immediate sensation of lost powers, tiredness, as a way of knowledge capable of bending the limbs and curving the trajectory by following the gaseous state of the music in its never-ceasing production of space. This festival strongly faces the failure theme deriving just from this evanescence of music which emanates by eclipse. We might state that there is nothing so far. The strength of this festival – if any – will be the music which surrenders to the shape impressed by each creative sign made by the listener, like the air cavity surrounding the actor on stage.
Well, in the end, I just wanted to say that you are the artist, you, the spectator. And perhaps also this: artist, you are a citizen.
CHIARA GUIDI
Artistic Direction
in collaboration with
MASSIMO SIMONINI, SILVIA BOTTIROLI
July 3 - 12, 2009
I can’t tell whether this is a commonly shared experience, but whenever a sound moves me, then I see. To tell you the truth, nothing changes in the area surrounding me, but the shape of my thoughts; sometimes a story comes out, but it immediately disappears; sometimes a small tear is opened and the world becomes visible again, only filtered by a sort of amnesia. Everything happens very suddenly and for a very short time, just like a bird song, it begins and stops, immediately absorbed by the higher leaves from which it came. Nothing is nearer, nothing is clearer, but space, which was unchanged, undergoes a movement which the memory can store. Yes, the leaves were singing. I refer to the concrete action, to the complete presence, without a before and an afterward, the aesthetic experience and not to the ascetic contemplation. Seeing a sound. Seeing versus believing. For some of us sound can conceive and express the strength of a space, just like a machine coming out of the soul, it can make it possible, visible; this is what happens with the theatre, with the first light appearing on the stage, which is capable of creating a place filled with promises.
Santarcangelo 39 starts here, from this perceptive angle borrowed from music and the theatre is the room where all metamorphoses caused by the exchange between feeling and seeing occur. Just here, in the first Italian city which, even without a single theatre, managed to establish a theatre festival thirty-nine years ago, artists are invited to occupy its gardens, houses, and corners. The widening and the bending of their vision don’t cause the creation of new areas, but it is possible to see what was already there through new eyes. For this reason we will occupy Santarcangelo, and, in order to see it as being “immense”, we will have to walk and move along the routes marked by the drawing of the works which will be materialized only here; as a matter of fact, works will remain unknown, hidden inside the artists’ imagination until the day they will be displayed. We will walk along the areas by using the immediate sensation of lost powers, tiredness, as a way of knowledge capable of bending the limbs and curving the trajectory by following the gaseous state of the music in its never-ceasing production of space. This festival strongly faces the failure theme deriving just from this evanescence of music which emanates by eclipse. We might state that there is nothing so far. The strength of this festival – if any – will be the music which surrenders to the shape impressed by each creative sign made by the listener, like the air cavity surrounding the actor on stage.
Well, in the end, I just wanted to say that you are the artist, you, the spectator. And perhaps also this: artist, you are a citizen.
CHIARA GUIDI
Artistic Direction
in collaboration with
MASSIMO SIMONINI, SILVIA BOTTIROLI
July 3 - 12, 2009
