Or even emphasized by sounds and songs as its soundtracks, revealing the cinematographic nature weighting on the place – faithfully rebuilt through the stylistic choice of bare almost minimalists interiors, and decorated by vintage (Prima stanza), or openly kitsch, more colorful and crowded with objects tapestries (Seconda stanza). The entire project is filled with iconographic references from cinema (David Lynch) to photography and painting (Hopper).
Anticamera, the third episode of the series presented at Fèsta was installed in its shorter version (Anticamera Ep). It is a piece that emphasizes the most the movie dimension. Its theatrical language approaches the one performed by the videocamera,even though it is not present on the stage. In fact, the scene is empty, deep, a black space from which emerges a white and empty cube; the performer, with her back against the light, withdraws until she gets swallowed by the squared space at her back. The song chosen for this first movement (the beautiful revisitation of Song to the Siren performed by This Mortal Coil in 1983) confers solemnity to the action and at the same time opens to the most diverse interpretations, dragged to that focus target where all eyes are pointed to, becoming the cinema-eye; that is, becoming an active source in relation to the scene itself.
Inside the box, a sense of expectation takes shape, in the form of a body and a chair, with floral tapestries contrasting the whiteness and the darkness surrounding them. Athletic movements closed into a square meter space, offering different points of view, materialize the imaginary created by that room, making the waiting come true: this is the Waiting Room. The chair lays on a side. Then the dancer appears, tangled up so that the spectator can only see her back or shoulders, the squared frame immortalizing them: this recalls the camera’s ability to circle around the subject-body, almost vivisecting it and examining its movement. It is as if we were in front of a screen assisting to a real film editing: the cube becomes the television set absorbing and imprisoning those who are inside and outside of it.
The dramaturgic effect is amplified by the wise use of lights by Fabio Sajiz, a former light designer for Socìetas Raffaello Sanzio. Sajiz is very skilled in underlining, caressing and hiding objects and bodies. It is thanks to light that the duration of the sequence unfolds: light is projected from behind using backlight, creating lateral cuts that give back visual depth to those spaces that are too small to unveil their verticality; it is projected frontally to cover the whole scene with a bi-dimensional and fictitious gloss. Light transformations become scene changes, a luminous editing of visual dramaturgy, in-between the symbolic and the expressive. These transformations are also pictures from a universe trapped into the impossibility of a progressive action; they are flashes of light whose revelation is left to the imagination of the observers, who do the real work of dramaturgic reconstruction.