Bitef

2002 Twin Rooms produced by La Biennale di Venezia In November '99 Motus was awarded the Special ÜBU Prize (the most important award of the Italian theatre): "for the stubborn and creative coherence of a visionary research into redesigning spaces and filtering myths through a spasmodic use of the body and the recovery of scrap and everyday materials, carried along on the wave of music". November 'OO Special ÜBU Prize for the Prototipo Project to Fanny & Alexander, Masque Teatro, Motus e Teatrino Clandestine which took place in autumn 99 at Interzona (Verona) in collaboration with Biennale di Venezia. From 2001 to 2004 Motus worked on the project ROOMS, which has the following steps: - Santarcangelo Festival, July 2001, premiere Vacancy Rooms - Temps d'lmages/La Biennale di Venezia, February 2002, premiere Twin Rooms - Grand Hotel Plaza, Rome, May 2002, premiere Splendid's organization by ETI Ente Teatrale Italiano and Teatro Valle on the occasion of the Festival Cercandoi Teatri. In December'o2 a jury composed be the Italian most important theatre critics has awarded Motus with Special ÜBU Prize "for the play of splitting images and story in the development of the ROOMS project". In December 2003 Enrico and Daniela directed the film based on the performance Splendid's, which was presented during the last edition of Santarcagelo dei Teatri Festival.

In 2003 Motus set out on a new artistic journey through the images and words of Pier Paolo Pasolini, called The Guest. "SPLENDID'S" MOTUS While setting up Orpheus Glance we read Splendid's as a contribution, a further suggestion... a strange French noir of filmic character, somewhat American style with regulation gangsters and sweaty tuxedos. A cinematographic cliche that fitted well into the dramaturgical texture of a show which ironically insisted precisely on cliches. We liked the accuracy of the characters, their strange poetic and cutting language, the elegance of the dialogues, almost set to music, which made the whole work altogether new. We were struck by how Jean (Genet) / Johnny had portrayed himself within the gang, the Rafale, with the same lightness he advised for putting on this play in which the actors are never without their machineguns. even when dancing, and never touch one another We then laid the text aside - it had always seemed to us much closer to a cinema setting - with the intention of considering it in its entirety in the future and with the posthumous image of dancing actors armed with mitraillettes in a sort of unnerving "Betrayals Waltz". In effect the theme of Betrayal, Transvestism and the inexorable necessity of death, so obsessive in Genet, had already surfaced as premonito-