Choreographic work for Miss Understanding is a chart of genetic information that cleaves through the whole creative process of Carnal Creative Universe since its conception in 2011.
“Genoidi” choreographic line is product of the work of Manuela Bernasconi and Francesca Sproccati, fixed through time as “INDIZI” (clues) or "Pulizia" (cleaning). Born from a specific concept it plays with the demand of digesting daily information within a flow anabolic details. In other words, the constant update of data to which we are submitted on a daily basis.
During fundamental work for Carnal in 2011, a scene created based on architectural space: a high brow party lounge, a celebration, the disappearance (or death) of a famous lady called Carmen. Set into the crime, private detective Skip Montana is called into action to resolve the case.
Skip enters the death scene and begins to inquire into the circumstances, as he breathes and vivifies what has happened in real time. The past presents itself in present mood and clues speak out their forthcomings: an earring nailed on the table provides a scene and a dialogue into action, characters emerge, brimming trays with offerings, casseroles with smoking seafood, rare bottles of wine, cups, a red lipstick mark on a brim hints our Skip into urgency, he finds poison, then a small painting - that leads to a secret doorway - and takes us into a private chamber, a woman’s changing room, a dressing table, perfume, a mirror, the reflection: someone enters from the door behind, a small jewel box hides a secret, the moment of the crime.
As much as Skip ponders the compromised elements, there enter into the scene two gynoid (fem. android) - presented to the audience at the beginning of the performance in their full and mortal seduction - and start cleanup work on the traces of the crime. Skip is thrown into a race winning details before they are “updated” and expunged by the feminine expirations.
Skip is infalible. He is in possession of a pure state of concentration that allows for circumstances to be presented with precision. But he is dazzled for an instance too long by a particular detail: Carmen’s beauty enthrals him. Love seems to have taken over his senses, even if for slight a moment. But it is fumble enough for the gynoid to win over time and clean over the last hints of the crime before Skip can actually reveal them.
Unresolved, our detective must plunge into the depth of the Amazon rainforest and revive in the height of the Andes, to finally understand what was always in front of his nose. He is obliged, thus, to incarnate till the last breath the actual trail of the missing Carmen: of whom he too, as everybody else in the party of the crime, has fallen in love.
In this choreographic line, “Indizi”, facts race against time. A time in a global sense: perhaps the impossibility of breaking down reality before the technical wave imposes its cleaning update. It is a process of fast erosion. A process that dissolves and thickens, in the spree of a minute. Almost superficial.
The second choreography that is at the base of all movement work is the “Farfalla” or butterfly. This choreography spawns from subtle elements and provides poetic information. The butterfly is a psychopomp symbol. In ancient Greece “psyche” defined the breath of life. But the psychopomp symbol also frames a specific moment, the soul expelled from the mouth as a butterfly in its final breath.
The “Farfalla” contains a fragile choreographic quality. It is a conduit that carries information, how the stakes in our everyday actions are directly in relation to our soul. But in its center it reminds us with great intimacy of the moment of death. Death as symbol. Death as an instant. Death as vacuum. Death as someone who looses the thread to one’s soul, mirror to our spirit.
Both choreographies are intimately related, one takes us into the other. In Miss Understanding, the “Indizi” takes us to the moment of the “Farfalla”. We vivify the final breath, the butterfly that escapes our mortal coil. The arguments of such a symbolic association, thanks to the piece’s narrative structure, are for the audience to dispose of.
The video below is a progression in time (2011 to 2015) of the "Indizi" choreography.
Edited by Giuglia Debartolomei