This piece takes the quote of a blind man as a starting point, a body traversed by time, with the final hour approaching. At the hand of a guide or cicerone, he submerges into a purgatory disguised as nowhere, where he briefly regains his sight. In this dialogue, a mannerist forest of symbols, the figure.
He recalls some of the different yearnings and fundamental events of his life, but also the violence. Motu proprio, he decides to shut his eyes again, to a white blindness: a thirst for the infinite, or simply, silence.
“And then suddenly that faint but piercing and obsessive sound seemed to reach some sensible zone of my self, one or another of those places where the skin of the self is extremely thin and delicate and abnormally sensitive: and I awoke with a start, as through face to face with a sudden insidious danger, as though in the darkness my hands had touched the ice-cold skin of a reptile. (…) Awaken me from my mad sleep to warn me that my previous existence had come to an end like a stupid preparatory stage.” Ernesto Sábato, “Report on the Blind” (On Heroes and Tombs)
Kor’sia’s previous project, Cul de sac, proposed, as its title suggests, a situation of no return. The plastic universe of the artist Juan Muñoz contributed an eloquent vision of the crisis of values and the social crisis. The project that we propose here, with the provisional title The Lamb, once again turns to modern dance as a code to intimately examine the current situation, but by putting the emphasis on more metaphysical questions, like life and death.
And if life is a dream and death awakens us?
It is for that reason that we talk about lambs, as metaphysical animals (Schopenhauer) or, which is the same thing, individuals who can’t find a guide (or shepherd) to fight the tedium that is taking root in the heart of European culture. The body, as “space-zero of history”, offers itself up as the ideal place to carry out the task of recreating the wounded spirit and repairing it. But to do so requires one or more sacrifices.
Sacrifice, as an act of abnegation as well as expiation, forms the thematic core of The Lamb, which was conceived – bringing up its use in the allegory – as a postmodern self-sacramental.
-Blindness, which since Classical Greece has been used as a symbol of desperation and infamy, as well as clairvoyance and perception of that which is hidden.
-The tension between the flesh and the spirit, that which is earthly and ethereal. Also related to this axis are the ephemeral conditions of youth, eroticism and violence.
-Sacrifice as a volitive act related to the thirst for transcendence. Another line of research in The Lamb involves the tensions between the individual and the community, which would be made explicit in an exploration of human chains and “chorality”. We use this term, from Jean-Pierre Sarrazac, instead of “chorus”, to draw attention to the absence of true cohesion: massification and separation are the two faces of the same coin.
DIRECCIÓN: Mattia Russo y Antonio de Rosa
Coreografía: Mattia Russo y Antonio de Rosa en colaboración con los intérpretes
Intérpretes:Agnés López Río /Mar Aguiló/Alejandro Moya/Astrid Bramming/Mattia Russo/Antonio de Rosa/ Diego Tortelli
DRAMATUGIA: María Velasco
ACTOR:Miguel Ángel Altet
Escenografia y Luces: Luis Martínez
Vestuario: KOR’SIA /Andrea Pimentel/Realización de Carmen Granell
Asistente: Marta Zampetti
Producción: Gabriel Blanco (Spectare)
Asistente a la realización: Alejandro Garrido
Foto y vídeo: María Alperi
Coproducción: INJUVE / AUDITORIO PARCO DE LA MÚSICA ROMA//
Colabora: CND/ Matadero Madrid/