Originally commissioned in 2010 for the actor Giovanni Franzoni by Antonio Latella, artistic director of a season dedicated to the theme of Fundamentalism at Teatro Nuovo in Naples, Giuda was restaged in 2014 at ICI Berlin Institute for Cultural Inquiry for Biagio Caravano, historical performer by mk.
There is now also a version that includes both the interpreters in a single performance, which premiered at Teatro dell’Elfo in Milan, October 2015.
By listening to a soundscape that seems to anticipate, stress or deride the actions of the performer – who plays in absolute silence – the audience is witnessing a race against time, the design of an already written path, while the body sinks into the doom of repetition and is shaped by the mysterious consciousness of the initiate.
The performer is suspended between these two conditions, clinging to the moment that precedes each action, as a goalkeeper in the locker room before the game. He foreshadows what his body should strive to accomplish.
He seems to generate and suffer with the same aplomb a mechanism within which his will is placed. His problem is the management of a chronology, the creation of what has already been decided, in anticipation and delay. In this way, he transforms repetition into chance but remains trapped in the drama of the performance.
The viewer is immersed in music. He listens through headphones a universe of holophonic acoustic visions, sometimes hyper-realistic, sometimes abstract and evocative, always cinematic. Like a memory of private or collective dreams.
The sound is the privileged link between action and its understanding. The solitary nature of listening with headphones, becomes an intimate and realistic experience , through a complex system of binaural recordings