Love is that kindness, so rarely kind, and never at all proper
B.R. Dignin 1892
A perfect day , a perfect world, then at some point all becomes twisted.It seems a tragedy , it seems the inspiration for a prologue, it seems a true story, it seems the end of a world, in the world.
Everything for the hand of man ... for proclamation of freedom, achievement, interest, and beauty. Do you love me or kill me?
We report here on a dreamlike past, yet contemporary, disturbed and inappropriate.
It seems the excitement of the strong things, it seems unique, it seems the only goal, it seems flesh, blood...Then BANG!
Just a shot and it all ends... Of what has been, in the writings traces remain of desperate lovers, tortured feelings of immense sadness and tears. We have not changed that much. Everything still revolves around love and in his eternal contrast.
Let the Work roots of why and how of something powerful, strong, huge!
We analyze the nature of the restraint and the pursuit of absolute freedom, the current one, our, daily. We are inspired by the true facts of the crime, true.
In one way or another we try to have our say and not to leave unfinished a reaction -relationship, we are also part of this time at the bottom.
What is left of the myth?
A first study on the Work of Wagner, a source of inspiration to investigate.
A careful listening to the song and its majesty. The discovery of the modernity of the Opera, a similar picture, but far from the Middle Ages.
The Wagnerian Opera instigates not only to make tragedies; is a fact, a divine melody.
Take a head, an incipit, a champion unforgettable, forever... and then weigh it ... What was it?
What's this? What will remain?
This new work represents the second chapter, part of the investigation we are developing through The Trilogy of Pain, which we have completed in 2014 a first step with Maria Addolorata.
Tristissimo is about sadness and it is a project which stems from Wagner’s Tristan und Isolde and a reflection on what people refer to as the “blue Monday” the third Monday in January, also known as the saddest day of the year. The two performers undergo a backward evolution from man to primate, where a progressive covering in hair, that is the thick blond oakum that minute by minute grows longer and longer and suffocates them, marks the signs of self abandonment, carelessness, and an increasing lack of humanity, which leads to endless sorrow. The essence of this show, which pervades the entire trilogy, is a sense of melancholy that shapes the unhappy couple who seem to struggle to find balance in the way they relate to one another. Yet, the way in which this performance ironises on the concept of sadness, whether it lies within or without the Self, whether created or provoked from tragical events (like the war) seems to suggest a way out that is to be found under the surface, and under the layers and layers of thick rough oakum where the warmth of a human smile may be concealed.
Freely devised and performed by: Carlo Massari and Chiara Taviani
Production support: “Regione Lombardia”, “Ballet National de Marseille”
Stagecraft by: C&C
Light designers: Francesco Massari, Iro Suraci