Desert-Inn [the fourth man]

Desert Inn – ph. © Laura Arlotti – dancers: Rhuena Bracci, Marco Valerio Amico, Marco Maretti, Enrico Caravita

choreographty: Marco Valerio Amico, Rhuena Bracci
with: Marco Valerio Amico, Rhuena Bracci, Enrico Caravita, Marco Maretti, Matteo Timo
sound: Roberto Rettura

2006/2008 PRODUCTION
« I like to remeber things in my own way…and it is not necessarily the exact way they happened».(David Lynch, Lost Highway)

This work started with a fascination coming from My dark places by James Ellroy. His mother was murdered. 36 years later Ellroy started making inquires about it. A corpse, 4 suspects, the crime scene and the clues for the solution of the murder are the elements used to reinvent the events chronolgy. To determine the rythm of the performance, the action takes place in an undetermined space and time that precludes its description and location, compared with the sharpness of Ellroy’s writing and its jazz modal system course. To violate the narrative rules to keep the ambiguity of the non-story, obtaining a flaking short-circuiting narrative thread that paradoxically takes place in the same temporal dimention. Like in the recollection of a dream: “It wasn’t you. I knew it was you, but it wasn’t you…”. Flashes of images fixed on the retina, recorded in the most remote part of the brain and picked up almost by chance under pressure of suspect. Entering a temporal flow. The dramaturgy is complex, articulated, composite, thick and stratified with single elements and actions, simple, thin and linear fragments. An overlap of transparences, a multiplication of analogies and enigmas. No one introduces him/herself and no one is addressed, we can only guess who the secon leads are: friends, companions, officers, suspects… To find out clues, putting together a missing path through inconsequent evidences. Disassembling chronological levels for a multiplicity of simultaneous perspectives not exactly corresponding. There is no objective evidence of the events, there are only not really consequential partial versions. The research we are following is about probing the sound, the body, the word. Adding them up to obtain an Other. Melting them to create a vision vehicle, displaying and hiding to transform and shatter a certain reality. The sound is taken with its suitability to become simple, able to approach a former deeper and ideal model of the sensible things. An invasive background ‘white noise’ infesting the room as an inner monologue and spreading an atmosphere. The word becomes image moving in bewteen caption and discourse searching for a sum whose result is the clue. The actions are temporally and rythmically disconnected, overlapped, as they were drawn on different levels of transparent paper. Everyday actions clashing with bodies busy with meticulous obsessive rites. The lights are part of the action, moved by the inside they are not used to illuminate places or gestures but to open time portions. They reveal bodies and colours already there, captured in the happening of the action, as they fell down from above. The images are already composed once they appear. To pay attention to the lighting up of little details. Details as clues, potential evidences to find the murderer. Meticulously plumbing little spaces and portions of flesh to find evidences.

«Only a spectacular death is capable to reveal what usually passes unnoticed».
(Georges Bataille, “L’érotisme”)