1991
By Isabella Bordoni and Roberto Paci Dalò, Terrae Motvs traverse the sound, the voice processed through live electronics, where the word is depersonalised, transcends, and relinquishes meaning in order to dissolve into vision. The overall rhythm of the performance is dictated by the heartbeat, a biological rhythm and, precisely for this reason, an extremely sophisticated one: beyond control and intention. A natural percussion that belongs to mystery, whose unpredictability aligns with the greater values of “error” and “chance”. Five years later, the text was revisited and adapted into radio material for RAI Radio 3, in line with a practice—widespread at the time—in which theatrical and/or media productions were presented simultaneously in the theatre and through live radio and television broadcasts. Click here for more information.
The natural-human dimension and the technological one inevitably contaminate each other, mutually expanding the signs of one and the other. Just as, when one focuses attention on the landscape, one sees territories crossed by a dense network of electric cables: the nervous system of places, which finds its equivalent in the human body. For Morton Feldman, musical creation is subject to form; it becomes a tool for reflecting on time or rather, on the loss of the sense of time. There, music and here, theatre act as mechanisms that trigger the disorientation of memory. The text, too, is a sinking and a suspension: visions chasing one another, irreconcilable, seeking a truce. There is nothing new in modernity. The reflection is on a tradition that refuses to become preservation, but which is a continual search for the new that is archetype. Where memory transcends documents and testimony is oral, tradition is mobile and a seed of disorder. Where thought is defeated and humble there lies its peak.
