Among the theatrical performances that animate Rome, at Romaeuropa, Elli Papakonstantinou reflects on the meaning of presence and absence.
Art , it continually confirms, does not give up, even in this second phase in which society is once again rigidified by the resurgence of the pandemic, pushing forward with its new ideas and visions, while rightly maintaining extreme attention to safety. This time we're talking about Romaeuropa , the performing arts festival now in its 35th edition, which ensures "a sign of presence and hope for artists and audiences," naturally adapting its offerings and exploring new digital formats, which have now become a safety net for many artistic projects.
On October 13th and 14th, Traces of Antigone will have its world premiere , a reinterpretation of the ancient tragedy by Greek director Elli Papakonstantinou , a perfect example of resilience: the production was in fact conceived, built and rehearsed entirely during the lockdown period .
"I had just started rehearsals for the show when we were forced into quarantine. We decided, despite everything, to continue the work with the help of technology, and to meet online day after day. I was deeply moved to understand that the containment of our physical bodies within the digital windows of programs like Zoom directly engaged with the themes of this piece: feeling trapped in a gender identity, the relationship between femininity and domesticity, " says the director. "Here in Rome, thanks to the support of Romaeuropa Festival, Traces of Antigone debuts in a new version that aims to unite the physical and digital dimensions : an innovative format that allows spectators and performers to be present simultaneously online and offline , in the theater and on the digital platform Zoom, creating a meta-space beyond any kind of configuration. An embroidery of the immaterial and the material, absence and presence, certainty and uncertainty."
A response to everything coming to a halt, to the total lockdown we've experienced. The focus shifts to the domestic isolation so many women have experienced throughout history, and the plight of those who feel trapped becomes universal, providing an opportunity to reflect on the meaning of presence and absence .
"This is who we are: 'The Absent Girls,' in memory of all the women before us. Just like our mothers and 'sisters,' we use isolation to our advantage, embroidering the ancient traces of Antigone as part of our lineage. Like the women before us, we make art in isolation. But this time, we do it in public."
The result is a veritable six-point manifesto, called Theater of Seclusion , which serves as a blueprint for the emergence of livestreamed performances .
- We develop, rehearse, and perform the entire piece in quarantine with the help of digital platforms;
- We use only the props, musical instruments, settings, costumes, and technical means made available to us during quarantine; no components will be added later! Home is our set;
- Public space and domestic space merge into a single space. The names that label our virtual windows identify us, reconfiguring anonymity and objectification, always and already, "singular-plural," in elsewhere and otherwise.
- We work in isolation, from our homes, like women before us. Are we trapped, safe, or emancipated? It's up to the spectators to decide, as we grant them permission to invade our most intimate world. Zoom in on the details, zoom out on the galaxies;
- We use all the same basic technologies to harmoniously weave this new-age audiovisual embroidery;
- We invite users to interact with the performance, thus projecting themselves into the public agora.