TEMPESTA

SPECIAL MENTION SCENARIO AWARD / GENERAZIONE SCENARIO 2009

with Anna Bragagnolo, Pierantonio Bragagnolo
movements Simone Derai, Anna Bragagnolo
video Marco Menegoni, Moreno Callegari, Simone Derai
video editing and direction Simone Derai, Marco Menegoni
sound Marco Menegoni
assistance Marco Menegoni, Moreno Callegari
historical and iconographic advice professor Silvio D’Amicone
writing Simone Derai, Eloisa Bressan
direction Simone Derai

tempèstas originally meant moment of the day, only after it became a condition, an atmospheric state and finally, in a very special way, a stormy and violent weather. In La Tempesta, in Fregio and in other paintings by Giorgione the lighting moment is immortalized in the natural representation of the lightning, of the atmosphere and the light of a certain Veneto that won’t come back any more, captured by the look that stares at the season and at the phases of the nature life cycle, upset by the wind, overfilled with impending clouds. Nature offers a code – whose key has to be researched in the wise Old Testament tradition and in the apocalyptic texts – to announce the end of the days. The Apocalypses (in the meaning of final battle, and revelation) that interests is as much the universal as the one of every human being who feels and suffers for the short time of youth and the irreparable finiteness. The growth, the challenge against the chaos, the transience. The astrologic forecasts of the first lustrum of the 16th century leave the place to the signs of the impending contemporary, but the self consciousness on the transitory condition of the human being remains the first cause of anguish and of its most sublime consequences: art and poetry. In the day and in its passing by, every man has his own private and personal apocalypses. As in Giorgione the Antichrist is one among us, it’s inside ourselves that grows the antagonist of our personal battle.

SCENARIO AWARD 2009 SPECIAL MENTION

Jury’s motivations

“For the precious indication of a scene where it appears possible to conjugate radication and modernity, image of the body and real presence of the flesh of the actor. Radicated theatre, where a restless and passionate relationship with nature is mediated by art, as a coffer able to guard individual and collective memory of one’s own territory. The radication completes here thanks to a careful composition that steals from Giorgione’s body of work the astonishment of the still time to interrogate the condition of the present existence and the alchemy of the possible transformation. Art is placed side by side to the earth to give us back our roots.”

THE PERSONAL APOCALYPSES AND THE ANTICHRIST WITHIN

The dramaturgical construction and the iconographic invention of Tempesta move from the study of the composition and the themes in Giorgione’s work, however they do not land to a representation of Giorgione’s figure nor they aim to write a theatrical biography, which would be impossible due to the lack of historical documents about the famous painter’s life. Giorgione represents an artistic and spiritual sensibility in which we recognize ourselves, to which we have been educated and which continues to nourish ours various formative experiences. Nostalgia for an age of the earth and the attempt to conciliate it with modernity, comprising the deep fracture and the tensions that this continuous fracture incessantly exercises in the inner depth of our society, characterizes like a common lymph the creations of Anagoor. We belong to a generation that has not known virgin its own land , but  we were born and we have grown during and after its definitive devastation. An historical period in which the Venetiae returned to being a singular economic, consumes-producing motor and a gear of the global trade culture, unavoidably opened door to the Easts and the Souths of the world, with all the consequent political tensions created by the shortsighted thought of who believes that the door opened by Venice to the sea does not have to be equally opened from the sea to Venice. This same generation does not know wars, having the West removed them and pushed them in and perennially purulent and wounded Holy Lands. However it is the first one to have assimilated the anguish of a nuclear holocaust, the fear of pandemics and a sexual contagion that has changed love and relationships forever, the restlessness for a visible ecological collapse. It is this perception of ourselves, local and global, intimate vision and big picture at the same time the object of our inquiry. The Apocalypses (in the sense and of final battle and revelation) that interests to us is both that universal one, and that of each and every individual that feels and suffers the short time of youth and the irreparable finiteness. The growth, the challenge against the chaos, the transience. The astrologic forecasts of the first lustrum of the 16th century leave the place to the signs of the impending contemporary, but the self consciousness on the transitory condition of the human being remains the first cause of anguish and of its most sublime consequences: art and poetry. In the day and in its passing by, every man has his own private and personal apocalypses. As in Giorgione the Antichrist is one among us, it’s inside ourselves that grows the antagonist of our personal battle.