Sineglossa works on mirage, using the power that light has of hiding objects.
It looks for the presence of a body who always moves in front of the eyes of the audience, before they can possess it completely, challenging the certainty of the concrete flesh and blood.
Sineglossa’s poetics is distant from pop art, cynism, nihilism and divertissement. It does not look for the description of daily life, through mimesis and likelihood, but uses the allegorical expression with the aim of opening the multiple levels of Reality.
It asks to reassemble a meaning which makes sense only in the subjectivity of the relationship between the work and the physical, emotional and cultural condition of the audience.The acting is deeply connected to the visual part and the sound aspects.
Sineglossa’s poetics is distant from pop art, cynism, nihilism and divertissement. It does not look for the description of daily life, through mimesis and likelihood, but uses the allegorical expression with the aim of opening the multiple levels of Reality.
It asks to reassemble a meaning which makes sense only in the subjectivity of the relationship between the work and the physical, emotional and cultural condition of the audience.The acting is deeply connected to the visual part and the sound aspects.
All the elements are in a continuous dialogue for the further step. When the momentof the performance comes the gestures follow a surgical attention, with a millimetric precision: a mechanical pattern which is synthesis of the sensibility, the imagery and the humanity of the actors involved, never reduced as mere puppets.The esthetic care does not imply a renounce to emotion, which spreads, mainly, from the presence of fragile bodies.The handicraft is an essential prerogative of the work.
There is no use of digital or complex technological systems to produce images, but the work is done mainly with self-produced objects, to get to know in all the details the tools moved in the scene, giving them life as a demiurge.The fact of creating the work through artistic residencies in different places encouraged Sineglossa to think its work as nomadic.
A choice which is in line with the interests on the topic of identity not as a substance, but as a relation based accident, in all its multiple and contradictory faces.
Remember me originates from masculine and feminine identities, which show, confuse and melt themselves before disappearing; it is a fragmentation in parts which appear but cannot be conceivable in the same body; it is myth as a key to the present. The main questions on the sense of representation (what are we doing here? What are the performers doing behind these screens, under those lights?) appear together with the echo of an image bringing them closer.
They are bodies existing in the same space of the people who are watching them; mirages never recorded somewhere else, but revealing themselves in the hic et nunc, essential and touching privilege of theatre.
Dido, suffering from Enea’s departure, before killing herself asks to be remembered. What would have happened if Aeneas, in the mainwhile, had pronounced the same words? All this happens while an ambiguous voice is singing the aria ‘Dido’s Lament’ from Dido and Aeneas by Henry Purcell.
copyright © Federica Papa. All right reserved.
Federico Bomba dramaturg and director
Luca Poncetta visual artist
Simona Sala performer
Luca Poncetta visual artist
Simona Sala performer
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soon available at http://www.sineglossa.eu/index.html
