Terramia

“A SENSE OF IDENTITY THAT IS DISJOINTED AND DISINTEGRATED, LIKE A PUZZLE WITH DIFFICULT AND EVER-CHANGING SOLUTIONS.”

To what extent does what we really are identify us and how much, on the contrary, does it categorise us?

Terramia is an original multimedia piece, accessible to a mixed, international audience, which brings to life a fierce investigation into the lack of identity through the use of contemporary scenographic language.

Immersed in an atemporal society, albeit a potential future of our own society, spectators re-evaluate their knowledge of humanity through the eyes of an android who learns about the personal daily lives of various characters.

A common feature of each character is the solemn march and progression towards a loss of the individual, an identity that becomes increasingly liquid and changeable.

A series of tableaus follow one another, which represent fragments of real life, contemporary situations narrated using surreal and postmodern settings, in a language that is ironic and, at times, grotesque. A possible future that acts as a mirror of our present.

 

“SOCIETY ONLY WANTS YOU NOT TO LEAVE THE GAMES TABLE AND TO MAKE SURE YOU HAVE ENOUGH CHIPS TO PLAY”
(Zygmunt Bauman)

 

Cast and Crew: 11 people on tour (9 actors / actresses)
Running time: 65 min. approx.
Venue: indoor/outdoor show
Language: NO TEXT >> non-verbal performance
Technics:  Phisical Theatre / Dance / Machinery and large miving Object
Audience: best ca 2.000 people. Suitable to international audience 
Directed by: Marco Paciotti from an original idea by ONDADURTO TEATRO
Video excerpts by Adele Tulli / Film Affair production
Photographic images from the “Martiri” [Martyrs] by Stefano Moscardini
Machinery: Lorenzo Pasquali and Massimo Carsetti. Construction of machinery: Dario Vandelli
Costume Design: K.B. Project
Light Design: Roberto Mazzaro
International Consultancy: Ute Classen Kulturmanagement – GERMANY 

PARTNERS AND SUPPORTERS:

Supported by:          MiBAC – Italian Ministry of Culture – FOREIGN SECTION

                                   ROMA CAPITALE – Commune of Rome Culture Department

                                   INEUROFF Festival

 

ARTISTIC RESIDENCY:
– LaMaMa Spoleto UMBRIA (IT)
– Twain Residence LAZIO (IT)
– Arboreto Teatro Dimora EMILIA ROMAGNA (IT)

 

IN COLLABORATION WITH:
Teatro Vascello – Repertory Theatre of Innovation, Rome (IT)

We move forwards in time by a few years, we envision a possible future, a mirror of the present.

And what if what was observing humanity was not us, inured to ourselves, but the eyes of an android?

She awakens for the first time, totally unaware of the world around her.
Her creator proceeds to input data about the human race.
So Erica, the android, with an innocent, child-like look, begins her discovery of humanity.

But to what extent will the characters that populate this journey of discovery be whole, to what extent will they be crushed by and within their own identity?

On her journey, Erica meets a young woman who tries to be a “simple” exterior image, tries to identify herself purely in terms of appearances; a veteran who fears everything that is not found on a battlefield, unable to relate to his new everyday life “at ease”; a young man/influencer guided by surreal TV assistants that tell him how to be IN and how to get more LIKES when, in reality, he is nothing but an outer shell filled only with loneliness, without any sense of belonging.

You will discover what a man “should” be and what a woman “should” be in a society that establishes these rules from the very first months of life.

And then, a man by day to fulfil his social “obligation” and a women by night to remain faithful to her inner being; a married couple in which domestic stereotypes are transformed into a grotesque picture, in an escalation of ferocity.

Alone, Erica finds herself for the first time out in the real world and here she meets a woman.

Erica sees herself reflected in this woman, finding an essence that carries with it the pain of a lost love.

Our android tries to alleviate the woman’s pain by giving her a realistic projection of her lost love. And this is where Erica discovers the beating heart that moves and animates human beings.

A small light is transformed in her, her robotic heart disappears, Erica is a part of the world and slowly she humanizes her own essence.

But from here, the path leads us into a dystopian near-future time where one man’s life is entirely organized by an artificial intelligence that accompanies him; a world where everything has become commodified; a bourgeois sitting room where the game that will determine the fate of the “pawns” is in the hands of 3 powerful individuals… beneath them, a population who are the human pawns of an atrocious and insane game of carnage.

Of these identities, of these individuals, their bodies, their lives, what is left at the end? Is there a possible escape? Perhaps …the answer depends on us alone.

THE MACHINERY
The scenery and theatrical machinery create, modify and distort the scene, creating a single sequence shot where the space itself becomes a pulsating and dramatic element.

The background is a rarefied environment, a black and white world punctured by splashes of vivid, brutal, harsh and glittering colours.

It is the performers – both actors and manipulators at the same time – who move the structures and who create and destroy the various settings and planes of action.

The performance is staged around a central structure made up of modules.

These modules, which have various shapes and forms, and all of which are movable, function like cinematic dollies and create visual effects similar to long shots, close-ups and details, allowing the characters and spectators to continually change their respective points of view, although each from their own perspective.

VIDEO
Video elements, just like the music and the set design, is an essential part of the language used and, at various moments, takes on the role of the setting, text, allegory or a character.

Video images and graphics are used to enrich the scene, creating innovative synergy.

Moving screens, structures and the bodies of the performers themselves become the surfaces through which the images come to life in an ongoing dialogue. Through the interplay of transfigured proportions and extreme close-ups, the protagonists create and destroy the spaces and stories.

Please contact us for more infos about the tech rider.

[…]con TERRAMIA la compagnia ONDADURTO TEATRO vuole dedicare simbolicamente il palco a ciò che siamo e a cosa siamo diventati oggi, nella caccia all’immagine perfetta, tra luci, video ed effetti speciali.[…] Tg3 – RAI 3 – Italy

 

[…] thanks to the show TERRAMIA, ONDADURTO THEATRE Company proposes a symbolic journey trough what is happening nowadays and what is becoming the humanity in hunting for the perfect image, between a large use of lights, video projections and special effects.[…]
Tg3 – RAI 3 (National Television) – Italy

 

[…] un’indagine sull’identità, o meglio sulla sua assenza, in un crescendo di proiezioni e note, tra brani inediti e noti, studiati per trascinare il pubblico in un noir senza tempo[…]
Il Messagero – Roma, Italy

 

[…] an investigation about identity, or rather about its absence, in a crescendo of video-projections and notes, between original soundtrack and well known pieces, in order to drag the audience into a timeless noir[…] Messagero – Rome, Italy

 

[…]approcci forti e delle volte crudi con attori di spessore, professionali e talentuosi… un’opera poliedrica che tocca intimamente l’animo umano.[…] Under 25 – Critici per Caso, Rivista on-line

 

[…] strong and sometimes raw approaches performed by talented actors … a multifaceted work that intimately touches the human soul […] Under 25 – Critici per Caso, online Review Critici per Caso, Rivista on-line