Info su Alessio Mezzarobba

Arti Performative [Musica & Teatro Sperimentale] Audio & Video Installazioni

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2001 - 2011
9'59'' Video/Dance/Music Courtesy dell'artista

2001 is the first chapter of a wider research into the theme of collective memory and embodiment, related to life-span of our generation, the people born in the middle of the 80s. This research faces the theme from both a theoretical perspective (taking advantage of the methods of socio-semiotics and the semiotics studies on memory, as well as of the work by philosophers as Peter Sloterdijk, Michel De Certeau, Michel Foucault, Annette Wieworka, Juri Lotman, Ross Chambers, and many others), and a creative perspective based on the practice as research. 2001 is the outcome of these intertwined researches. This research materialised previously in our other works and in other mediums, such as installations (Bags, 2010) and interactive theatre (with our previous project Tunnel, 2010, see our website). The work for 2001 is an ongoing process, and each outcome is never an ending, but rather it’s a step of the ladder. We could say a project never ends, and, when it officially does, it flows into something else. Main goal for our work in progress for 2001 is to test what of our language, of our imagery, really communicates, and reaches other people. What elements work, and what don’t. This will be achieved through an ongoing process of sharing our work, asking for people’s feedback. We plan to give a series of open rehearsals of bits of the projects, in order to have the possibility, on the one hand, to get a feedback, and, on the other, to give people the chance to see what devising a theatre project is like, with all its difficulties and opportunities. To do so, we will benefit of the support of some London performing arts venues (Roehampton University, Newington Dance Space, Jacksons Lane, and of course Oval House, if possible).
Sharing is a fundamental element, for we want to be powerful in expressing what we feel as urgent, and clear in communicating it. Our idea of creativity, of theatre, is all about sharing, and learning one from another. 2001 speaks of an event that has undergone a targeted institutional strategy of forced oblivion. Core idea of 2001, and of our whole work as artists, is that it is necessary to re-elaborate the events that have marked us, carving our bodies, and that at the same time have been denied to us, rejected from the official narrations. The denial and re-writing of history is a tool in the hand of the dominant power, to prevent changes. In the particular case 2001’s dealing with, the combined action of violence and the following denial managed to shut up a movement that really had the power to change things. 
Nothing has been the same after that, our generation was left speech-less, and yet, what has been expelled from the centre of the semiosphere, survives in its fringes. Which is the place where creativity takes place. 
As these memories have been rejected from the dominant discourses, they have been banned from language and narration. They have a different structure: superposition, stratifications of fragments. And as fragments they can be approached. Like spying into the different windows of a building. 
Against the oblivion strategy, leading to immobility, art, creativity, is the tool we have to make things shift, change. 2001 aims a providing a space to re-open issues, encourage awareness, agency and change. Our approach gets its strength from its being multi-disciplinary. This multi-disciplinary perspective all flows in the outcome, the staging of 2001. 2001 as a performance, too, is composed of many different elements and layers. Dance and movement research. Set design. Special music made from field-recorded tracks. Archive research on sound. Video installation. 
All these elements work in a synergy made of polarities and contrasts.
The fragmented structure affects the very structure of performance, too. 2001 will question the traditional idea of theatre narration, giving the audience a true experience to live, in every layer of their bodies, with every sense engaged, rather that a story to understand. 
This perceptive, bodily approach is the only language we have to speak of the unspeakable (about the issue of post-conflict and trauma, philosopher Jacques Fontanille writes of a “Me-flesh”). 


Irene Liverani - Direction, Coreography, Dance Mattia Pagura - Direction, Video Alessio Mezzarobba - Sound