A video-sound installation in which video art and opera interact with each other, and reflect on the topic of climate, social and individual change.
Modena, Drama Teatro
October 12 h 17.30 and h 19.00
October 13 h 17.30 and h 19.00
October 14 h 10.00 and h 11.30
October 15 h 12.00 and h 18.00
duration 35 minutes
Thanks to Drama Teatro in Modena for the kind hospitality
By Daniele Spanò
Video-sound dramaturgy Daniele Spanò and Angelo Elle
Direction, scenery, lights and visual contents Daniele Spanò
Music and sound design Angelo Elle
Voice and selection of the sung repertoire Arianna Lanci
With Arianna Lanci
On video Ivan Spanò and Bianca Maria Karpati
Video shooting Maria de Los Angeles Parrinello and Daniele Spanò
Technical assistance Alessio Troya
Production ERT Emilia Romagna Teatro (Italy)
In collaboration with Sagra Musicale Malatestiana
Thanks to Daniele Davino, RGB light festival, Ostudio Roma
The director and visual artist Daniele Spanò returns to VIE where, together with Luca Brinchi, he presented in the 2016 edition Aminta. S’ei piace ai lice.
This new work creates a connection between two different artistic forms, video art and opera. A video-sound installation dialogues with the voice of the soprano Arianna Lanci and reflects on the theme of climate, social and individual change. Angelo Elle – independent producer, Sound Designer and Engineer – is the author of the original music.
FORMA-SONATA is a research project started in 2019 following the audiovisual recording session that Spanò conducted in Venice during the exceptional flood of that year, which led to an extraordinary and prolonged rise of the waters in the Laguna. In 2021, thanks to the production of RGBfestival, the project is defined and premiered in the form of a multimedia installation with the name Ultimo Movimento. Starting from the themes developed in the installation, this new performative version presents itself as an immersive multisensory organism in which voice, light, video, body and sound exchange functionality and skills in an attempt to “increase” the perceptual condition of the viewer.
“The definition ‘climate change’ has within itself a series of ambiguities and contradictions, the analysis of which helps us to better understand the inadequacy of policies aimed at countering the phenomena of environmental destruction for which human beings are responsible.
The identification of the word change as a negative factor is a process that removes responsibility for the devastating phenomena of climate change. The sensationalist vision of natural catastrophe has always fascinated and is obsessively proposed by the media, generating attraction to the general public. In the emergency of the intervention, a distorted sense of solidarity community matures, a sort of patriotism, which places us united towards the common enemy: “Nature”. This narrative, which feeds a vision of catastrophe as supernatural and an idea of nature understood as an entity other than us, is then transformed into an instrumental propaganda for all those policies that implement the unconditional exploitation of natural resources.”