anatomy lesson - Paolo De Falco

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An old cemetery and a church. The walls that divide (separate)... from the world. Beside, or behind, a dreamlike orchard
that seems to belong to the future. A place on the border of the village, set in the middle of a descent, as to show a real
transience. Or just possible.
If the stones could sing, if suddenly, even at night, these walls began to release a sound, a kind of call, what would happen
over there, where the world lives breathless?
Butch Morris made me immediately think of the wizard Cotrone, the main character of The Giants of the Mountain, a drama
by Pirandello. Cotrone conducts a strange band of artists called "the losers" that were penned up, as in exile, in a mysterious
villa. As they no longer believes in relations with the audience, they choose to distance themselves from everything and to
dedicate their time and last strengths to melt them down in a visionary game, both hold and produced by the Villa.
The Villa is capable, says Cotrone, who, as a medium, orchestrates the nights and the enchantments .
“Spirits of Matera” by Morris, seems to come from this Villa. It seems to have been created as through an intrusion.
An intrusion not so much in a city, as in a kind of "hole", a "well" of time and space. Matera is the means towards that place
where sounds are held and wait, and Morris seems to have gone there to take them, to touch them, setting them free and
ordering them for the last parade.
I do not know if art is dead, but I feel that we need to pick it up… elsewhere.
Morris the wizard, the Villa, the cemetery and its "final" room, where it is easy to imagine the young Leonardo, who
observes and reflects his image in that of the old Charon, suggest me a direction. We will then inhabit this place, to melt
down and attract, to feel that the living can return to the dead, to make them feel their pulse. We hope, as well, that we will
find, at the end, the strength to get out of the Villa, to go into the world, under the protection, if only, of a propitious glass.
Paolo De Falco
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TECHNICAL REQUIREMENTS OF PERFORMANCE
Since the performance is re-created every time and ad hoc for a specific site, with a specific set-up-path that will take into
account all its features, it is possible to indicate only some minimal general requirements.
Of course, it is necessary the presence of a fascinating space, sufficiently wide. In some cases, is possible to take account of
the traditional space of the theater.
The performance could also be itinerant, thus providing a path to the performer and/or spectators. This requires a
malleability and a technical and organizational willingness in order to create a full and fruitful collaboration among the host
organization and Grad Zero artists and technicians.
In details the main requirements are:
a lighting system with a lighiting control console, headlights and cables of different length and power that can be moved
through the locations involved ( even outdoors ); one or more PA systems (amplification systems) with CD players; some
directional microphones.
After a look-over within the site by of Grad zero, it will be possible, however, to provide a detailed list of the requirements.
It is available a video on the web that shows the performance for the old Cemetery of Sant’Anna in Cisternino (Br) achieved
in Pietrchecantano.
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