Bitef

Marisa Fabbri i Franco Quadri) dali su sledeće obrazloženje za dodelu nagrade: "Veoma mladi po godinama, ali zreii po iskustvu, kao što priliči njihovoj generaciji, Wind iz 'Fanny&Alexanderi - troje kao individualci koji nisu radi da budu javno priznati kao pojedinci, koji poveravaju identitel pojedinačnoj i binarnoj formuli skraćenja - gaje i izvoze iz svog rodnog 'Romagna felix’, pozorišta koje ima istančan smisao za korišćenje drevnih prostora i koje je svesno svoje fikcije i koje, možda da bi pojačalo neizvesnost sopstvene prirode, daje prednost poeziji i pesmi dok ide putem izvodenja i vizueine umetnosti. U formi dramskih bajki i ne samo crkvenih horova, ličnih imaginamih hronika i rituala, religioznih ili profanih, nedeljivi elementi pričaju price preko mikrofona, priče koje su njihove ali im ne pripadaju, lived ulogu do trenutka posedovanja, izvlačeći se iz sebe do trenutka umiranja, dok glume, tu pred njihovim srcima koja krvare u odgovarajudm relikvijarima, mered sopstvenu vitainost sa biblijskim uletanjem pripitomljenih insekata, pozlaćenih cvrčaka i roja termita. Ali kada 'Fanny&Alexander' prestanu da izvode spektakl sopstvene fascinadje, ponekad izlazed iz Aiisinog ogledala u tamu nod, tako dragu gospodinu Hajdu, neki od njih se transformišu i, pod nazivom Teddy Bear Company, prekrivaju potresnim prisustvom ove prostore posvećene grehu diskoteke. Ovde su oni poput ravnodušnih hetera, koje stižu do ovih mesta, zahvaljujud pukoj pasivnoj egzibiciji tela, 'cum quids' koji im dopušta da postanu još jednom, uz ironiju, prikazanja, uloga i igra očaravajuće trupe 'Fanny&Alexanderi, koje će uskoro ponovo početi." REKVIJEM OD FANNY&ALEXANDER: OPŠTI UVOD Ono na šta smo usmerili pažnju pri stvaranju Rekvijema od samog početka jeste figura: veoma precizna i istovremeno bleda figura prelaza, koji ima kvalitet pakla, koji izgleda kao pakao prevare što nam ostaje od onih koji umiru. Ne možete a da ne dodete do dna tog pakla, prosto ne možete da pobegnete. Izdaja, u svojoj mitskoj nameri, cilja na prelaz, cilja na autonomiju i savršenu usamljenost svadjeg putovanja kroz njegov ili njen pakao, Rekvijem je taj pakao. “Moraju da ostanu sami, nema izbora, kako bi iskusiii ono što im potpomaže kad vise ne mogu sami sebi da pomognu. To iskustvo mole da im obezbedi nerazoriv temelj." (J. Hillman) Svako zna do savršenstva opsene njegove ili njene lične pustinje. Sve morbidno privlad hronika pustinje drugih ljudi. Potrebno je izvud kolektivni arhetip ove čuvene lične stvari. Arhetipska figura podesna da ostvari ovo putovanje jeste duša, Psiha, figura zadivljujuće snage, zato što je ona jedina od nekoliko koje postoje u našim mitologijama sposobna da punopravno odigra arhetipsku ulogu koju preuzima u filozofiji i psihologiji, ne oslobadajud se tragova ove čuvene price koja je prikazuje kao običnu devojčicu, učesnika u opštoj lalosti. Psiha je po svojoj prirodi sklona izdaji - u izdaji kojoj se predaje ona brine da obuzda svoju neprekidnu telnju ka izdaji. Ona je kreativna. Psiha brine o svom umetničkom radu u pustinji, ona vidi da je akcija snalna na putovanju, oslobadajud je neobaveznosti i podsmeha. Kao posrednik izmedu svesti i kolektivne nesvesti, ona organizuje tematske misli mase o mitu o smrti i odriče se svoje lične bljuzgavice i nečistoće svojih namera. Bez obzira na kvalitet I snagu svog simbola, u toj pnci ona je samo obična devojdca, sa običnom i vulgarnom sadrlinom. Zato molemo da joj verujemo. Zato molemo

This experience can provide them with an indestructible foundation.” (J. Hillman) Everyone knows to perfection the mirages of his or her own private desert. Everyone is morbidly attracted by the chronicle of other people's desert. It's necessary to extract the collective archetype of this well-known private matter. The archetypical figure suited to make this journey is soul, Psyche, figure of admirable power, because she's one of the few, in our mythologies, capable of playing in her full right the archetypical role she assumes in philosophy and psychology, without loosing the tracks of the famous tale that shows her as a common girl, involved in a common mourning. Psyche is treacherous, by her own nature - in the betrayal she suffers she worries to limit her unceasing tendency to betray. She is creative. It's Psyche who takes care of her work of art in the desert, who sees that, in the journey, the action is strong, relieving it of casualness and ridiculousness. Intermediary figure between consciousness and collective unconsciousness, she organizes the topical thoughts of the crowd about the myth of death and gives up her private slush and the dirt of her intentions. Although her numinous quality and the power of her symbol, in the tale she's just a common little girl, with a common and vulgar story. That's why we can trust her. That's why we can follow her. She is within everybody's reach. Everybody speaks about her all the time. She is in every fold of our life. The individual and the crowd, philosophy, religion and chronicle, they all deal with Psyche. It's necessary to reflect more on the chronicle of death. Let's imagine a great event of public mourning, or even the better, a private event so anonymous and powerful to arouse everyone's interest. Everyone will take part in his or her own Requiem with ardour, with no hesitation. Myth on one hand, the media aspect of private chronicle transformed in collective Requiem on the other, give us this power. A REQUIEM BY LUIGI CECCARELLI No words can describe a requiem, you can only hope to feel its vibration through sound. Writing a requiem having Psyche’s myth as dramaturgic reference has been a big challenge for me. As a musician I have always been mistrustful of Greek ancient myths and in particular of their current psychoanalitical use. My music always reels off along a temporal bridge which, beginning with the most atavistic emotional level (peculiar to every living creature endowed with hypothalamus), gets straight to the aesthetics of the forms of abstract art. During the planning my idea has become more and more similar to the very fascinating - even though never demonstrated - theory asserting that the brains of the ancients were divided in two distinct and uncommunicating parts (Julian Jaynes - The Origin of Consciousness in the Breakdown of the Bicameral Mind): on one side the dimension of speech and rationality (generally the left hemisphere), on the other the territory of irrationality, of sound, and of sacredness - each side strictly independent and detached from the other. This physical inability to communicate between what is real and what is imaginary, where consciousness does not exist