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: : D

the obscenity of teeth

fragment of C/o project

concept, direction and action in-scene:
Francesca Pennini

action and creation off-scene, stagecraft:
Andrea Amaducci
Angelo Pedroni

Research developed during the Choreoroam Project, supported by: Operaestate Festival Veneto (I), Dance Week Festival (HR), Dansescenen (DK), Dansateliers (NL), Certamen Choreography of Madrid (Spain), The Place (UK).

rehearsal space:
Teatro Comunale di Ferrara

piece for theatre stages
year 2009

duration: 30’

The place inside of the mouth, as primitive and original architectural space , as an hidden/exposed body hall, leads this reflection upon the concept of obscenity. The smile of a cynic pose for a “souvenir picture”, of an attractive advertisement brand or a campaign slogan, becomes a mere exposition of teeth, an inside out turn of the dental bones with no muscolar nor emotional will. A “mentadent-berlusconian” smile that makes the body an image on organic support. The obscene, which by definition must remain out of the scene, is exposed from the darkness of the oral cavity to the (ob)scenic-space of the stage, becoming product for the spectators’ retina.
Ob-scene, Ob-seen. An invitation to voluntary blindness.
A violent request of complicity that forces the gaze of the audience up to replace it to the authorial choices by determining the duration of the scenes in relation to how the spectators are looking at it. And at the end it remains just a forensic signposting, traces of a timing without a subject, while the viewers go away from the crime scene keeping - for how long? - frames of bodies impressed upon the retina.

"...Once abandoned the glossy virtuality of the previous Eye Was Ear, Francesca Pennini opts for a rough survey on the pornography of the gaze. Forced into a livid optical tunnel, the body becomes exposed surface at the mercy of others’ eyes, spread in a catalog of poses whose duration is determined by the attention of the audience. The spectators are monitored from an on-stage console by Andrea Amaducci that, armed with a bell, marks the beginning and the end of every action as soon as the spectators begin to wander. And it is mainly between one pose and the other, when the body awaits in all its fragility, deprived of the consolatory figurative rhetoric we are used to, it is in those cracks in the forced entertainment that a shiver of embarassment winds in the audience."
[ Andrea Nanni - Hystrio - 1/2010 ]


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