Tiresias, the new creation of BLUEMOTION / Giorgina Pi, brings to the stage the text of the London poet, rapper and performer Kate Tempest, Hold your own. Giorgina Pi, in the footsteps of the author, starts from our western tradition, and specifically in ancient literature, to rewrite and completely overturn it.
“Tiresias is the seer who understands, who knows what must / be done. When listening to him one is / shocked as his body is disturbing, extraneous to the natural order; it is a body which lives diverse sexualities as well as diverse ages in one life. When his eyes stop seeing, they start to read the future. Tiresias in the Hades keeps guarding all the answers and is a go-between for humans and deities. He is extraneous to any rhetoric of power, not being hierarchic in either knowledge or experience.
Our present life is in tatters, bewildered by ancestral wounds due to the new plague, as well as to the suffocating pressure derived by the ever growing ferocity of capitalism. It’s hard to find the strength to hold one’s own. We have asked for help from someone who needs not see in order to know. Tiresias is a rite for us. “Tiresias, come and speak to us” says Kate Tempest and so do we. This time we will listen to you. We are here and we want to understand. We know that you can see down deep at the bottom of the past, you don’t lose memory the way we do, you don’t care if you are liked or not, you are poor, old, vagrant, dirty, trans, in the mix of a heap of objects, for ever unexpected. Still, something in the coming dusk whispers not to fret. Don’t matter that we’ll lose today. It’s not tomorrow yet.”
Bluemotion is a theatrical group which arose from the artistical and political activity of the Angelo Mai experience in Rome. Performers, directors, musicians and visual artists united, following their aspirations and longings, addressing their visions on the present and art. Their works are always collective creations, resulting from the exchange and perspectives of the group members. The Bluemotion artists create, live and share their experiences in the Angelo Mai independent space for the arts. They are also activists in the field of human rights and art and entertainment workers’ rights. In March 2014 they were the object of very serious charges which misrepresented their political engagement as criminal activity. After more than one year they were absolved from all charges, and released from a very painful investigation aiming at limiting their freedom and reducing the intense activities they had carried out at the Angelo Mai for more than ten years. Angelo Mai and Bluemotion were awarded the Franco Quadri Ubu Prize in 2016.
Giorgina Pi is an artist born and raised in Rome where she took a degree in Arts, music and entertainment. She specialized in Paris with a thesis on the Shakespearian performances at the Théâtre du Soleil. She is the author of several essays and papers. As a PhD student in Comparative studies at the Universities of L’Aquila and Paris 8 she is currently concentrating on contemporary rewritings of Greek myths signed by women. She is a stage director, an activist, a videomaker, a feminist and a member of the Angelo Mai artistic collective – an independent space available to artistic activities in Rome (it obtained the Franco Quadri award in 2016). With the Bluemotion theatre group she stages shows and designs settings, carrying out a research which unites stage arts, visual research and live music. She works since 2018 with 369gradi, a theatre production renowned in Italy and abroad for its work in new drama and contemporary theatre.
Gabriele Portoghese’s path started under the guidance of Carlo Cecchi. In time he worked with other people: Andrea Baracco, Valerio Binasco, Ferdinando Bruni, Fabio Cherstich, Giorgio BarberioCorsetti, Roberto Rustioni, Federica Santoro. Since 2015 he works with director Fabio Condemi. He works with Giorgina Pi and Bluemotion also on Wasted (2019).
a project of Bluemotion
from Kate Tempest‘s Hold your own
translation Riccardo Duranti
direction Giorgina Pi
with Gabriele Portoghese
soundscape Collettivo Angelo Mai
flares feat. Maria Vittoria Tessitore
echoes feat. Vasilis Dramountanis
costumes Sandra Cardini
light designer Andrea Gallo
management Alessia Esposito
communication Benedetta Boggio
production 369gradi with Angelo Mai | Bluemotion
we thank the Municipality of Ventotene, Cecilia Raparelli and Terrazza Paradiso for their collaboration and support
© Lau Chourmo
Notes on Short Theatre 2020
What else is your work about, besides what is already told in the synopsis?
Tiresias is about the difficulty of holding on to yourself. It is about the resistance to change. It is about the need to create a fictional vocabulary of its own, to name the things in the world and, if possible, to love them. It is about the tenderness of solitude, it is about the spirituality hidden in dispair. It is about the need to die in the midst of life to multiply life itself. It is about the memory we have of our lives, of the moment when necessary and sometimes accidental ruptures burst.
Tiresias is about the chance to turn our story’s timeline into simultaneity.
Who or what—real or imaginary, present, past or future—do you think contributed to the
Intuition, our intuitions…
Seeing something not for all to see in real life, but already evident. It is like we lost faith in our clairvoyances, when we are kids, when we are teenagers, incredible things happen to us, we see with extreme certainty things that don’t exist to others, but that are real landmarks to us. Or we dream about astral travels, we leave our bodies, we connect with people we love even if we really can’t touch them or talk with them. Well, growing up we kind of lose this personal magic… why am I talking about magic? Not only because Tiresias is a fortune teller, but because magic strongly deals with our personal metamorphic ability, with our continuous freedom to act on ourselves and on reality, deep transformations. Well, the track is intuition, seeing what is not here yet or seeing what is here but seeing in it seeing something different.
What do you imagine you will say about this work in fifteen years time? Would you ever
This work about the ambiguous condition of being able to read the future, originated right before a pandemic started. Tiresias, the plague in Thebes, dreaded omens and a lot more became reality overnight. I still can’t remove the trauma of this experience from the moment of creation, always so beneficially intense. Fifteen years ago I already imagined that one day I would have worked on the myth and on the freedom to rewrite it. Though I would have never imagined living locked in my house for months, fearing a plague that haunts the world. In fifteen years I think I would feel an infinite tenderness for this Tiresias and for the days spent creating it with Gabriele and the company. I feel I will never forget the sensation of rebirth I felt during the second phase of rehearsal. And I would hold on forever to the sweetness of starting again, to the strength of protecting each other.