10 September | h 7 pm
La Pelanda – Teatro 2
Il canto della caduta follows up on a discourse begun with the Trilogy of Feminine Resistance and gathers a horizon of thought that continues despite thousands of years of patriarchy.
The myth of Fanes, in fact, is an ancient folkloric tradition of the Ladini, an ethnic minority in the Dolomites. It is an epic story that tells of a pacific reign guided by Queens which was destroyed by a new era of domination by the sword. It is the black dirge of the fall into the horror of war.
In the essay “Das Reich der Fanes – Eine Tragöedie des Mutterrechts”, Kläre French-Wieser sustains that during the era of the Ladini, there were three major transitions of humanity:
° The transition from matriarchal law to patriarchal law.
° The transition from a pacific system to a belligerent one.
° The transition from a totemic culture (that of hunter-peoples still in symbiosis with nature, recognising, in animal’s totems, their very own ancestors) to the culture of mining and extraction from the mountains.
The myth of the Fanes seems to be the tale of how we were, of that desirable alternative social reality for humanity which has always been shuffled aside as an unrealistic Utopian dream. One, however, which actually once existed.
On stage, our ancestral mind comes to life thanks to the puppets and mechanical crows created by set designer Paola Villani.
The creative process together with Paola and Marco Rogante lasted at least two years and was based on the creation of prototypes which allowed for the creation of a system of levers and cables, movable in the hands of an actor through a totally mechanical joystick – it is an artistic project that seeks to unite the traditions of figurative theatre to the principals of animatronics, as well as industrial components.