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PARADISO_1 UK 3

In the fifth sky of Mars
a Cross appears in the darkness,
it’s imposing, dramatic, perturbing…
it symbolizes the Christian world
and the theology as a strong and imposing
though which hands the world
with the strength and the violence
of the Mind.
 

  • PARADISO accomplished the trilogy
    create by Emiliano Pellissari, inspired by the “Divina Commedia”.
    While in INFERNO we found the naked bodies of the dancers
    as main characters and in “CANTICA II” there were costumes
    and stage’s properties to give us the symbolic key
    to understand the dantesque though, in PARADISO living paintings,
    inspired by contemporary art,
    will make us understand and interpret Dante’s philosophy.
    The Heaven with its no-places and no-characters that are
    ethereal spaces and glowing beings, offer us a time-space concettual code
    that only the strenght of contemporary art could represent, maybe.
    In this show the theoretical complexity of Dante’s universe
    described in the third cantica dissolving itself in a colourful abstract world.
    The planets – which are an essential part of Heaven’S structure
    according to the Poet’s cosmology, because the skies
    around them are gates to the Empireo –
    are represented by huge spheres that reveal
     
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  • only the suspended heads of the dancers,
    symbolizing the engine wits of Dante’s cosmology, as a surrealistic magic;
    the famous Angel’s of Dali’, which is made up by drawers,
    comes out on the stage and mysteriously other angels
    come out from the drawers; with our eyes we see the creation
    of a magic room made of objects and naked bodies,
    that little by little keep an order to perform the divine
    order which holds all the things. The same disorientating game between objects
    and human bodies comes up again in the choreography dedicated
    to the Moon’s world, in which the bodies interpenetrate themselves
    with the objects to show limbs that come out from solid surfaces;
    in a huge Mondrian’s painting the coloured squares
    become pieces of a puzzle which change continuously like in Tetris game;
    a big white canvas is cut into three parts to hit off Fontana
    and then bring us to the limit of the Artist’s though
    transforming itself in four giant real sculptures.
     
     
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  • As it happens with the spirits that meet the Poet in Jupiter’s sky,
    so the dancers’ bodies imitate alphabet’s letters to make the sentence
    that the audience have to read “Love Justice, you who judge the World”.
    Angelic bodies hover in the air through transparent balloons,
    they revolving perpetually around a unique sphere,
    symbol of perfection. Behind every scene there is a concept,
    an idea that the audience will interpret through symbology or just aesthetic intuition.
    Thirteen paintings, thirteen original ideas that will amaze the audience
    one more time and carry him to the borders of pure abstraction.
    To the backdrop of the abstract Heaven’s world we find classical music
    and electronic avantgarde, that were developed with synths, voxcoders,
    and various programs of musical elaboration for over a year:
    the instruments of the contemporary musical craftsman
    that rebuild sounds, human voices, the whole range of auditory perceptions.
     
     
     
     
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00 00 LOGHI

 

DIRECTION NOTES

INCIPIT
 
In the fifth sky of Mars
a Cross appears in the darkness,
it’s imposing, dramatic, perturbing…
it symbolizes the Christian world
and the theology as a strong and imposing
though which hands the world
with the strength and the violence
of the Mind.
 
Scena I

SPHERES
 
The dantesque paradisiacal system
is built up on the model of the celestial spheres
of the astronomic Ptolemaic tradition.
Spheres move themselves because of the angelic wits.
The dantesque universe is populated from angels that, such as pagan demons,
have a practical role in daily life : they act materially like many swarming gnomes
both on terrestrial matter than on extraterrestrial one.
There are engine wits who move planets, the generative ones
who create nature, the exemplary ones that are used as model for living’s creations,
etc. the planets fix the matter following astrologic rules
and the atoms build the matter influenced by planets.
Elements blend themselves with each others.
The molecules in turn build life according to angelic will.
Microcosm and Macrocosm overlap.
 
Scena II

MYSTIC ROSE
 
Heaven is organized according to a hierarchy
that replicate the medieval system of the power:
from the emperor to the vassals. At the ending the mystic rose of Empireo
set an accurate hierarchy of all the protagonist of the Christian theology,
all seated down on thrones turned to form a big,
huge, unique architecture of the power.
We represent the “mystic body”
that is that architectural structure imagined from Dante
which is made of the bodies of the Christians
through the use of Palton’s armchair,
mythical design objects that, used in an unconventional way,
become flying ladies, cherubs with various wings,
totem sculptures in which the blessed
inhabitants of the heaven find place.
 
Scene III

DALÌ
 
Resurrection is not an imaginary event but concrete and real,
in the centre of the Christian thought.
Imagine the Resurrection is not easy at all…how it happens exactly?
Words are not enough…we have to imagine concretely the event!
We have imagined the souls coming out from the Angels
which represent the medium between human being and God.
The Angels painted by Dali’ have drawers coming out from the stomach…
little detail: the souls are blind…a curious Dante’s invention,
so the souls would see again their loved ones
only after the Resurrection,
the event that will complete their happiness.
 
Scene IV

CHRISTO
 
Through the suggestions of land art
and his main interpret,
Christo, we represent, using a huge plastic semi-transparent
fabric which hide the dancers’ naked bodies,
the paradisiacal souls of the Moon (first sky)
and of Mercury(second sky)
that appear to Dante like evanescent human beings
hidden in an aquatic world.
Paradisiacal souls perform team choreographies.
Souls are dancing performing in couple or in circular movements,
rotations about themselves or launches.
Sometimes they seems like sparks that appear and disappear.
 
Scene V

ROSE WINDOW
 
In the fourth sky we meet S.Bonaventura and S.Tommaso,
the Christian faith’ s champions.
Between them there were been a verbal fight when they were alive,
the first was Franciscan and the second was Dominican,
to defend their monastic orders. Now, in Heaven,
they sing their ex-enemies phrases. They were Christian knight
who fight against infidels, heretics.
In the Sun’s sky there are twelve blessed
which represent the twelve zodiac’s signs and they form circles
that crossing each other to form a crown ( to remind the thorn’s one).
The lives of the saints which are described in the apologies after the canto X,
following specific astrologic conditions: the circle symbolize the zodiac,
that is the description of the celestial order
according to the physics of that time.
The medieval architecture synthesize this with the rose window.
 
Scena VI

ALPHABET
 
Contemporary Art taught us how to play with ideas,
so the piece is moreover a concept.
In the XVIII canto, in the sixth Jupiter’s sky,
a sentence appears in the sky, performed by the bodies of the blessed:
“Love Justice, you who judge the world”.
Then the letters become a M (for monarchy)
and an eagle (sign of the imperial power).
Word by word, letter by letter to read through the dancer’s body.
the game for the audience is to be able to understand
the letters and find the words by mind association.
 
Scena VII

KANDINSKJ
 
Everything is enlighten by God.
Rays of light enlighten the world,
they make a net which hands the whole world.
The light comes from the stars and the planets.
Everything comes up according to stars inclination.
The natural course of the events it’s only by the planets.
The human being, using the free will,
can follow or not his astrological inclination:
when he contrasts them, then he has evil.
Colourful fabrics make stripes that appear and disappear,
like in a magic. These fabrics entrap and support the dancers and,
at the end, they create a net in which they can live and play.
This colourful and bright world reminds the free and,
at the same time, the rigour of a Kandinskj’s opera.
 
Scena VIII

FONTANA
 
How render the time-space similar to an experience?
Dante speaks about a uniform infinite light, about eternal silence
and about lightness and departure from material world…
Dante goes over the limit of space and time, and tell us about the fifth element,
that is ether, that covers the world like a blanket, only abstractionism has
the conceptual strength to express this…
to let the light be something sensible, something very pale…
A big white canvas cut from three long slits,
bodies are acting from the inside, they create forms, they destroy them, disappear.
The dancers come out and modify the fabric according to the spatial theorem…
a paint by Fontana rise and live in front of us,
everything it’s about the light.
 
Scene IX

MONDRIAN
 
The Trinity is one of the most paradoxical concept
ever conceived by human being.
To resolve it Dante uses a simple metaphor:
3 coloured circles that join together and then separate as in the rainbow.
So the idea seems immediately clear to us:
the unique and the manifold (that is three person in one)
are like the three primary colours that join together produce white.
The Father, the Son and the Holy Spirit
are pure concept, as primary colours which give birth to all the colours.
Therefore we use Mondrian as a model to create a game of colours and shapes.
An empty paint that doesn’t mean nothing but itself.
The pleasure of the colour and the shape, without meaning, only abstract.
 
Scene X

MAGRITTE
 
In the first canto the cosmic order creates by God
it’s described with the finest words as a perfect clockwork
in which everything, visible or invisible,
inanimate or living, have a role and a destiny.
If God stops to contemplate his creation just for a second,
the world would collapse. A room is animated with chair and men,
which move themselves with uniformity.
Bodies fall from the air and fit with each other like in a Tetris game.
A finite and ordered set in which are acting smooth ordered groups:
a room made of bodies an chairs.
A play on the human body according to a classic element of surrealistic vision.
 
Scene XI

KLIMT
 
When the history confronts itself with eternity,
the human being is hang over and measure
the immeasurable divine consciousness.
Only Love that comes from Venus(third sky)
can carry us to an extra-sensorial knowledge
which transcend human limits (the mind).
Talking about artists, Klimt offered us a love representation
with its mystic strength fused with its erotic side.
Therefore we offer in the final a living representation
of his vision using the dancer’s naked bodies
dipped in gold and silver fabrics.
 
Scene XII

ORIGAMI
 
A simple blank paper give birth to shapes
both from animal and vegetal kingdoms…
a technique that become an expression.
We utilize this technique through the living bodies of the dancers that,
hidden into the fabrics, build symbolic shapes
which remind of the white flowers described from Dante:
the lilies and the mystic rose are the Angels,
the blessed and Maria, in the Empireo.
 
Scene XIII

DANTE&BEATRICE
 
The female figure in the “Divina Commedia”
is exalted and with Beatrice acquires
also a role of mediation with God.
Beatrice is an historical female figure
and at the same time a celestial power
who helps the protagonist in the rise.
Dante meets Beatrice who is a child,
a woman-doll idealized according to the canons of that time.
In the Heaven Beatrice becomes the main figure and divine source.
In this dialectic match between human and divine, woman and saint,
find place the story that we are telling:
the first meeting tied to the fascination of the poetic features
of the time, the death of Beatrice, her assumption
and her apparition surrounded of cherubs in the final of the poem.
 
Scene XIV

CREDITS

  •  
    COREOGRAPHY
    EMILIANO PELLISARI E MARIANA PORCEDDU
     
     
     
     

  •  
     
    LIGHT DESIGN
    RICCARDO GARGIULO, EMILIANO PELLISARI
     
     
     

  •  
     
    MUSIC
    EDITING/MIX: RICCARDO MAGNI ED EMILIANO PELLISARI
     
     
     

  •  
     
    COSTUMES ANF TEXTILES
    EMILIANO PELLISARI, CATERINA DI FLORIO, NORA BUJDOSO
     
     
     

  •  
     
    TOOLS OF SCENE
    EMILIANO PELLISARI, FLAVIO MONTI, NORA BUJDOSO
     
     
     

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