{"id":2199,"date":"2023-07-05T14:01:46","date_gmt":"2023-07-05T12:01:46","guid":{"rendered":"https:\/\/www.attraversamentimultipli.it\/?p=2199"},"modified":"2023-08-11T11:34:14","modified_gmt":"2023-08-11T09:34:14","slug":"farsi-corpo-in-farsi-con-carlo-massari","status":"publish","type":"post","link":"https:\/\/www.attraversamentimultipli.it\/2023\/blog\/farsi-corpo-in-farsi-con-carlo-massari\/","title":{"rendered":"Farsi Corpo, in farsi. Con Carlo Massari"},"content":{"rendered":"\n

Se gli ulivi del Parco di Torre del Fiscale parlano agli ulivi iraniani di Abbas Kiarostami<\/h2>\n\n\n\n

Sguardo 1. Lo sguardo di Deborah Ponzo, una partecipante del laboratorio Farsi Corpo e della RE.M<\/strong><\/p>\n\n\n\n

ll laboratorio Farsi Corpo <\/strong>curato da Carlo Massari<\/strong> e C&C Company<\/strong> \u00e8 al suo secondo appuntamento all\u2019interno del Parco di Torre del Fiscale, nella programmazione del festival Attraversamenti Multipli<\/strong>; il primo si \u00e8 svolto all’interno del progetto Corpo Citt\u00e0<\/strong> curato da Margine Operativo<\/strong> a dicembre 2022. L\u2019accoglienza del parco si presta da subito generosa per quello che \u00e8 un lavoro di ricerca attraverso i corpi di trenta partecipanti dove l\u2019acquedotto, la distesa della natura romana e gli ulivi ci fanno sentire liberi di correre e rincorrerci come bambini, giocare, arrampicarci tra gli alberi, sporcarci di terra e erba, ridere, manifestare suoni, stare in silenzio, stare insieme.
Dentro il caos che regna sovrano nelle nostre vite fatte di impegni, scadenze artistiche e non, call back mancati, rifiuti, progetti che faticano a partire, lavorare al parco con colleghi e corpi sconosciuti da conoscere per cinque giorni consecutivi, dilata il tempo delle mie giornate rendendolo di qualit\u00e0 e mi fa ridare un senso a quello che \u00e8 il mio lavoro di attrice; \u201cstare\u201d acquisisce un altro significato che non ha nulla a che vedere con il dolore dei ritmi frenetici del bisogno di produttivit\u00e0. Libera di creare e lasciarmi ispirare da ci\u00f2 che mi circonda. <\/p>\n\n\n\n

\"\"
foto Carolina Farina<\/figcaption><\/figure>\n\n\n\n

Sotto la guida di Carlo Massari<\/strong> e Chiara Osella<\/strong> abbiamo conosciuto altri corpi, i nostri e quelli di altri, altre energie, alcune in contrasto con la nostra, altre in linea. Abbiamo lavorato assieme per trovare una linea comune, accordarsi attraverso il corpo senza un dialogo verbale, ricercare, trovare e lasciar evolvere, perch\u00e9 quando si entra a contatto con un corpo che non si conosce \u00e8 molto importante concedersi tempo e avere delicatezza, rispetto e non essere precipitosi. Ripercorrendo le atmosfere del Neorealismo e di Mamma Roma che contornava il nostro immaginario abbiamo usato spazio, corpo e voce per creare una storia e lavorare sul rapporto tra sacro e profano. Uno spettatore potrebbe chiedersi su cosa si lavora per arrivare ad un ascolto comune e come si lavora a una drammaturgia condivisa che \u00e8 working progress e che si scrive durante la restituzione. La risposta a questa domanda sta nel lavoro sommativo che \u00e8 stato fatto nei cinque giorni di laboratorio; avere delle regole di gioco che consistono nell\u2019accogliere il peso dell\u2019altr, cedere il peso all\u2019altr, essere delle volte leader e delle volte trascinat da altr, pensare al proprio corpo come una molla o un elastico che genera tantissima energia e usare con cura questa energia, riciclarla e non tenerla per s\u00e9, evitare di disperderla, chiedersi cosa serve alla scena, se serve fare o no un passo indietro e non agire mai solo in funzione di un divertimento o un gusto personale, ma sempre in relazione agli altri. Non ricercare l\u2019estetica ma la funzionalit\u00e0, stare con gli altri e sentire il metro oggettivo su cui poter basare un lavoro di gruppo, che non \u00e8 mai prettamente mentale ma dove la mente \u00e8 a servizio del corpo, per arrivare a questo tipo di ascolto occorre mettersi nell\u2019ottica anche di poter sbagliare e sentirsi goffi e considerare l\u2019errore come una grande opportunit\u00e0.<\/p>\n\n\n\n

Deborah Ponzo<\/strong><\/p>\n\n\n\n

Sguardo 2. Di Sara Matloob, una spettatrice della RE.M<\/h2>\n\n\n\n

\u06af\u0631\u0686\u0647 \u0645\u06cc\u200c\u06af\u0648\u06cc\u0646\u062f \u0645\u06cc\u200c\u06af\u0631\u06cc\u0646\u062f \u0631\u0648\u06cc \u0633\u0627\u062d\u0644 \u0646\u0632\u062f\u06cc\u06a9
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(Nima Yooshij)<\/p>\n\n\n\n

\"\"<\/a>
scena tratta dal film Sotto gli ulivi del regista iraniano Abbas Kiarostami<\/figcaption><\/figure>\n\n\n\n

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The sound was too loud but natural. It was like the sounds of the park, like a train or a plane passing by. It took me a while to notice that the show had started. The empty seats of the spectators, in contrast to the standing crowd facing the ancient wall, introduced a different show. We were scattered freely on the hill. Then some human voices were heard, followed by a movement behind the arches of the wall. The bodies in black were moving together and slowly coming towards us. The voices were getting louder and louder. The mass of bodies passed through the arches and expanded. Their shapes changed like a river flowing over a rock or a tree trunk. They were constantly moving, with the same rhythm, but each in their own way. They would join together and separate again.
When they ran together to the nearby hill, we knew that the new act of the show had begun. Now the dancers in black were standing there in a circle, hand in hand. And if you would turn around, against the background of the sunset sky, you could see a young man leaning in a folding chair reading a book, a couple chatting on the grass side by side, a happy dog running, and a few people are sitting under a small gazebo with bottles in hand. As if the show was part of the park’s body and watching it was part of the natural life of the people there, while the show itself was narrating another life and even death. The dancers rushed to the highest hill as the sky became glowing with the last light of the day. Now the darkness of their clothes was framed by the shining sky. Then they flowed towards the olive grove. And while they were disappearing behind the branches, I was thrown Under the Olive Trees<\/strong>, to Rudbar with its wild winds and love stories, to my motherland.<\/p>\n\n\n\n

\"\"
foto Carolina Farina<\/figcaption><\/figure>\n\n\n\n

Sguardo 3. Di Zara Kian, una spettatrice della RE.M<\/h2>\n\n\n\n

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