{"id":7598,"date":"2024-11-15T12:18:50","date_gmt":"2024-11-15T10:18:50","guid":{"rendered":"https:\/\/www.satyrikon.org\/?p=7598"},"modified":"2025-07-01T10:44:40","modified_gmt":"2025-07-01T08:44:40","slug":"erzahl-installation-installazione-narrativa","status":"publish","type":"post","link":"https:\/\/www.satyrikon.org\/de\/erzahl-installation-installazione-narrativa\/","title":{"rendered":"Erz\u00e4hl-Installation \/ Installazione narrativa (?)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Sul formato di <a href=\"https:\/\/www.satyrikon.org\/entehrt-saverio-la-ruina\/\">Entehrt. Ein versuchter Ehrenmord in Kalabrien<\/a> &#8211; appunti di Roberta Cortese<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le forme di teatro tradizionali col tempo mi sono divenute sempre pi\u00f9 estranee, sia da spettatrice che da artista. Non so (ancora) rinunciare ai testi, ma lavoro per lo pi\u00f9 con testi teatrali dal carattere lirico &#8211; come appunto <em>Dissonorata<\/em> di Saverio La Ruina &#8211; o direttamente con la poesia. Mi piace esplorare le potenzialit\u00e0 della poesia come arte performativa, cercando nel contempo di creare una forma di esperienza del testo inclusiva, in uno spazio condiviso da pubblico e interpreti. Il teatro immersivo non \u00e8 nulla di nuovo, la differenza sta per me nel mettere al suo centro la poesia o comunque un linguaggio teatrale poetico &#8211; capace, un po&#8217; come la musica, di andare oltre il fattore meramente cognitivo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">La ricercatrice letteraria Emily Spears spiega in relazione alla <em>spoken word performer<\/em> Kate Tempest: &#8220;Creating, telling, and hearing a story entails entering into a moment of intersubjective potentiality that demands the expansion of one\u2019s own subjective position to account for the other with \u2018radical empathy\u2019\u2014even when faced with intractable alterity. [\u2026] Immersing oneself in the work of art, a work of pretence, allows the reassessment of the world in the same terms as the work of art, revealing the \u2018scale\u2019 and \u2018grandeur\u2019 of \u2018everyday epics\u2019.&#8221;<a href=\"applewebdata:\/\/68964DE5-6947-4CC0-A6ED-4638FDE7625E#_ftn1\" name=\"_ftnref1\">[1]<\/a> La <em>performance poetry<\/em> o testi teatrali dalla forte impronta poetica possono quindi, diversamente dalla poesia &#8216;stampata&#8217;, essere vissuti come evento sociale e risvegliare non soltanto uno spirito critico, ma un'&#8221;empatia radicale&#8221;.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Per facilitare l&#8217;immersione in un&#8217;opera d&#8217;arte fatta di parole, in soccorso pu\u00f2 venire lo spazio. E dove non solo la quarta, ma tutte quante le pareti sono state abbattute, la scenografia pu\u00f2 diventare un&#8217;installazione walk-in. Il racconto qui non va in scena dunque, ma avviene in casa della protagonista Pasqualina: tra lavanderia e salotto, in un accogliente patchwork di sedute e biancheria appesa a riflettere il carattere familiare del testo.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In questa installazione narrativa, la storia di Pasqualina di uno scampato femminicidio avvenuto &#8211; dal punto di vista austriaco &#8211; in un paese straniero diventa per me il mezzo da un lato per cogliere la situazione austriaca attuale, dall&#8217;altro, da cittadini del mondo, per provare ad ascoltare a livello globale. La lavanderia di Pasqualina collega lei e noi con le sue sorelle in sorte: lo spazio si riempie dei ritratti fatti di biancheria femminile delle vittime austriache, mentre dal mondo risuonano le voci di tante altre, come in un mormorio spezzato che porta a Pasqualina &#8211; dove ha inizio il racconto.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"applewebdata:\/\/68964DE5-6947-4CC0-A6ED-4638FDE7625E#_ftnref1\" name=\"_ftn1\"><sup>[1]<\/sup><\/a> Emily Spears, &#8220;Kate Tempest. A \u2018Brand New Homer\u2019 for a Creative Future&#8221; in <em>Homer\u2019s Daughters,&nbsp;Women\u2019s Responses to Homer in the Twentieth Century and Beyond<\/em>, edited by&nbsp;Fiona Cox and&nbsp;Elena Theodorakopoulos, Oxford University Press, 2019, p. 123.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u00dcber das Format von \u201cEntehrt. Ein versuchter Ehrenmord in Kalabrien\u201d<\/p>","protected":false},"author":2,"featured_media":7605,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"single-with-sidebar","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[9],"tags":[824,51,825,828,826,827,28,15],"class_list":["post-7598","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-notes","tag-erzahlinstallation","tag-installazione","tag-installazione-narrativa","tag-inszenierung","tag-messinscena","tag-raumausstattung","tag-roberta-cortese","tag-teatro"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Erz\u00e4hl-Installation \/ Installazione narrativa (?) &#183; Satyrikon<\/title>\n<meta name=\"description\" content=\"Zum Format von \/ Sul formato di Entehrt. 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