Wednesday, 14th September | 22.00
LA PELANDA | SALA 1 | 55′

theatre

Bluemotion

Caffettiera blu

based on a text by Caryl Churchill
directed by Giorgina Pilozzi
with the partecipation of Sylvia De Fanti, Mauro Milone, Aglaia Mora, Laura Pizzirani, Simona Senzacqua, Francis Villano
Voiceover Marco Cavalcoli
Sounds by Valerio Vigliar
Costumes by Gianluca Falaschi
production BLUEMOTION / ANGELO MAI / SARDINIA THEATRE

http://www.angelomai.org/bluemotion/

Caryl Churchill, while elsewhere it is recognized as a playwright of the first magnitude, in Italy it is little known to the general public, but appreciated by those who love, studies, practical theater.
Now more than seventy (although that hard to believe, given its innovative vitality), Churchill writes since she was just a teenager. Among the characteristic features of Churchill’s work stand out the intertwining of seeking formal innovation and reflection on some recurring issues: family and society, the norm and deviance, the power relations that even violently governing such institutions and define these concepts , the body and its meaning. His is a theater “not normal, not reassuring,” which always raises new questions and opens new roads; a theater that wants to be, and is, poetic and political whole.
The love of the heart and blue Coffee are the two one-act text Blue Heart and focus on waiting one and the other on deception.
The plot of Blue Coffee is not the first survey because “the main intention was to destroy it”, using the work to dismantle the mechanisms of the theater. Of course also it follows a narrative thread, we present “stories” are not explicitly linked to each other yet covered by the same restlessness, which puts themed ordinary family institution perversity and its relational and social mechanisms.
The thread of the story follows the story of Derek, a con man who lies forty to several middle-aged women pretending to be the child given up for adoption just born. The identities of the characters disintegrate along with conventions and the spectatorial expectations, in a “Destroy” game that gives life to the very idea of theater. The narrative seems to proceed in the traditional way, if it were not for the “virus” that infects the disintegrating language with the increasingly insisted inclusion in bars of the words “blue” and “coffee” – and then their fragments – in place of those that would ensure proper production of meaning. So the sense is strengthened, assumes its absolute circularity. In the opening scene of the first beat is the Plant Lady, believing that her lost son, overwhelmed by the revelation, says Derek: “I can not speak.” In the final scene, where he arrived at the height of its process of decay of language, the jokes are reduced to syllables and phonemes, “Blue” and “coffee”. really now Mrs. Plant and the same Derek does not know, can not speak; the false identity of the young man has not stood, put to the test in relation to women who want to be fooled. They also shattered the “true” identity, which would be based on objective indications: physical and character similarities, memories reconstructed in linguistic exchanges whose intelligibility is gradually undermined and eventually disappear. It is when the lie that dominates communication seems to work properly, well constructed syntactically conversational sentences in the register; Derek indulges the desire of the Plant Lady and Mrs. Oliver to find concrete evidence of a family relationship through the eye color, the shape of the head, the smile.
The slow emergence of the truth undermines all certainties, resulting in a progressive melting of language.
Blue coffee pot is a search on the verge of disintegration of theatrical language, which ironically and painfully digs in family dynamics and in the anguish of waiting and lies. The decision to put a table in the center as a unique meeting place of the stories, and around it the seated audience, including actors and actresses, wants inchiodarci in obsessive voyeurism that the family ties continually imposes.
The convergence of gazes on that table, the risk to cross to one of the actors or one of the spectators, stiffens the trajectory of the watch, initially. It makes us rediscover rather abandoned to spy shortly after. It is essential to give in to the game, find an opportunity to exist between secrets and lies, for the characters and for us all.

BIOGRAPHY

Bluemotion is a formation founded in 2008 in Rome in the artistic and political Angel Mai.
Performers, filmmakers, musicians and visual artists come together to create starting from their suggestions, comparing your eyes on the present and on art.
The works of Bluemotion are always collective creations, a result of the exchange and visions of the group members.
Bluemotion creates, lives and shares in the independent space for Angelo Mai arts.
The Bluemotion artists are also activists in the field of human rights and the rights of workers in the entertainment.
In March 2014 a heavy judicial investigation launched against some members of the group very serious charges, in an attempt to translate their political commitment into criminal acts. They were recently exempted from charges and ended a painful investigation that attempted to limit their freedom and reduce the intense and decennial Angelo Mai activities.
Happiness_appunti di viaggio is the anthropological and poetic research which currently engages the group.