productions Corpus Hominis   concept and choreography Paola Bianchi on stage Alessandro Bedosti, Piero Leccese, Matteo Garattoni sound concept Fabio Barovero lighting design Fabio Sajiz organization Chiara Gallazzi press Francesca Divano production Agar, Torinodanza, Drodesera>Centrale Fies collaboration to production Città di Ebla thanks Cango Cantieri Goldonetta, l’arboreto, Raum, Blusuolo centro arti performative, Cristina Riccati, Veglie in volo   We represent the age of minimum reason and maximum destruction. Ulrich Beck   This work comes from a consideration of the body as a place where the relationships of domination and subordination are registered. I will not reveal the power, but rather the victim, a victim of itself, of obsessive, daily self care: the body.   bodies, alone, spectators of the world bodies without body WILL YOU HELP ME? bodies dissociated in organs, relatively passive physiological material bodies medicalized bodies that disappear, that fall apart with vibration FIRST FUGUE bodies measured and exhibited, tidy and clean in the beauty of their appearance bodies celebrated bodies subjected to practice, preparation, civilization, education, conversion, bodies trained, disciplined, flexible, malleable, docile bodies, written surfaces, branded by the wording of the law SECOND FUGUE bodies punished, standardized, corrected, colonized, validated bodies massed in solitude bodies in-formed, regulated bodies like “things”, catatonic plastic bodies bodies-goods angels that fall to Hell, the damned who descend to Hades THE NECESSARY SURRENDER “everything could be different, but I can change almost nothing” brain death as a necessary and sufficient criterion for diagnosing the death of an individual superiority of the encephalon intimacy publicly exhibited and thus denied victim/executioner - the roles get confused material bodies that remain civilization’s disabled NOTHINGNESS STAGNATION   In what is defined as a somatic society, epistemological, ethical and aesthetic technologies discipline, adorn, punish, celebrate the body. Every society talks about bodies, moulds them, orientates them, marks them, reduces them to reason.   STYLES OF FLESH   Three male dancers. Male bodies, because of their being favourite victims of themselves.   Our body is an object: culture and power in-form our bodies; the way in which we perceive them, in which we take care of them and we “repair” them. Breaking up of power, destatelization of power have led to the privatization of the body, dragging us into the uncertainty. Body becomes an individual project, private ownership, but tools to modify it, to modelit, to correct it, to transform it can be find in the social world, models are and must be those ones built inside social ambit. Contemporary bodies are no more trained but induced bodies, perhaps less docile, but unequivocally victims. Colonized bodies. Self care becomes one of cultural answers to all anguishes’ mother: menace of the end, the death. Death isn’t a universal concept but it is connected to historical society and to predominant cultural standards. In the western world cerebral death decrees body’s death: death of totality’s individual. To recognize that cerebral death is the necessary and sufficient criterion to decide when individual is dead, means to fix that encephalon is incarnation of human beings’ life. So bodies with their encephalon in necrosis are biologically alive corpses. Body/person. For these reasons, during some moments of the performance, the three dancers’ heads will be concealed, clothed. I want to declare body’s submission to head/mind.   Human body and life are principal fields of political action’s exercise and intervention. Bio-power is arbiter and decisional organ. Bio-politic’s agencies can be State, scientific institutions, public opinion: places where truth on normality is produced.    Media: Photo (1,6 MB) Photo (1,5 MB) Photo (1,7 MB) Photo (2,2 MB)