ACCIDENTE 2 - GLORY HOLES
A hole in the wall. One actor and one spectator. A performance for very few people. An intimate, personal relationship between two strangers. Eleven minutes. An illuminating transcendental orgasm.
Original Script MAURO ANDRIZZI and MARCUS LINDEEN
Translation, Concept, Direction GIULIO STASI
Scene ALBERTO TIMOSSI
With TIZIANA AVARISTA / CRISTINA GOLOTTA / JUN ICHIKAWA / ANNA MARIA LOLIVA / LUCILLA MIARELLI / CECILIA NAPOLI / CRISTINA POCCARDI and with YOU
Assistant Director ELISA GALLUCCI
Technical Direction DARIO SALVAGNINI
Premiered in Rome at Pelanda - MACRO Testaccio for Short Theatre 2012
Performers in previous editions ELENA CUCCI / SOFIA VIGLIAR
[...] the outdoor performance of Glory Holes, directed by Giulio Stasi, lies somewhere between theater and a sensory, erotic experience. [...] The actresses, always different and deliberately anonymous, are intensely involved in this delicate, sensual confession. The tunnel and the darkness open up another dimension, the text flows by in a soft voice, and for eleven minutes we are within a parabola that shifts from voluptuous to existential, taking us on a tiny, poetic circle round the world.
[...] An eleven-minute monologue of white-hot intensity, due to the location, to the way one hears and witnesses it, to the story itself and to the feelings that the account of a sexual relationship between two men, interpreted by a woman, arouse in the listener. It disrupts any pre-established relationship, any sexual cataloguing (man/woman) and sexual orientation, to arrive at a unique, unrepeatable event experienced through the living skin of two living bodies who experience themselves and each other above and beyond any semantic division. An experience that no one who has not gone through it can understand. Another of the precious moments from one of the best editions of Short Theatre so far.
In a painting by Hieronymus Bosch entitled Ascent of the Blessed, a glowing tunnel leads souls from darkness to celestial light. A concentric space that acts as a bridge between two states as opposite as they are contiguous. […] Giulio Stasi – playwright, director and actor – asked us to return to that hollow passage between inside and outside, between two diametrically opposed positions: speech and silence, entrance and exit, darkness and light, enchantment and disenchantment, orgasmic pleasure and terrible disgust. Glory Holes, an 11-minute performance as staged (the words are never an impediment) for the Roman Short Theatre Festival, asks us to make ourselves small, to return to an almost fetal state and to lose ourselves in the shadows of Macro Testaccio, to then find ourselves huddled in cylinders that are reassuring and yet disturbing at the same time, in silent expectation of something, someone, looking beyond […] In the unbridled pursuit of pleasure narrated passionately and devotedly, there is an act that goes beyond any vulgarity. In this gesture unable to generate, aimed only at maximum pleasure, here is where the cocoon shatters, in the passage from death to life. From within that glorious hole, within the oral cavity. It compels us to engage in an act that is submissive, yet active: it is we who give pleasure, yet we also take pleasure, in total anonymity, protected as we are by the darkness, but we are committed to the silence of the spectator. And in that experience, told in such detail, the pleasure and gratification lie in remembering, and yet I feel a succession of sensations that are almost painful… “Pain and pleasure alternate like light and shadow,” in the words of Laurence Sterne.
RENATA SAVO on SCENE CONTEMPORANEE about the ACCIDENTE 2
[…] An intimate confession addressed to a stranger: a hymn to love, a universal song of joy and sorrow that leads to a physical and emotional reaction, restrained only by the individual resistance fully compliant with an agreement (the separation between actor and spectator) that here, indeed, is abolished [...]una confessione intima rivolta a uno sconosciuto: un inno all’amore, un canto universale di gioia e dolore che spinge a una reazione emotiva e fisica, trattenuta solo dalla resistenza individuale ad abbandonarsi completamente nel rispetto di una convenzione (la separazione tra attore e spettatore) che qui, difatti, viene abolita […]
[...] Glory Holes does not allow for a large audience: a one-on-one relationship is established between performer and spectator, as in the most intimate and private human relationships. Each spectator is accompanied to a position by a girl dressed in white. The darkness within the former slaughterhouse – site of MACRO in Testaccio – is deep and all-encompassing. Performances take place within huge PVC tubes, large enough in diameter to allow the patron to sit comfortably, in rigorous silence.
The actresses who perform the monologue – which lasts eleven minutes – are six in number, as are the positions for spectators. There is a single text that echoes in whispers and murmurs […] The persuasive story rivets the listener; from initial embarrassment due to being so close and intimate, the experience becomes voluptuous, confidential and spiritual. The dimension is suspended, suggestive; a journey in time and space, through the adventures of someone else. Giulio Stasi conducts his research into just this close, direct contact: the illusion of the fourth wall now seems too brittle and alienating, in an era when film holds the monopoly on truth. Thus, theater artists can do nothing less than try to explore and experiment, to still give us any kind of emotion, from the pleasure of intimacy to the discomfort of distrust.
Cecilia Carponi: In the performance Glory Holes that you created and directed, you managed to achieve a direct and intimate encounter between two strangers: actress and spectator. Where did the exigency to do this come from?
Giulio Stasi: I would rather talk about choices, about will, about ideas, than about exigency, a word that has been a bit abused – together with urgency – by much of Italian theater. I felt in love with a short script that dealt with an intimate, direct encounter between two strangers. For a long time I looked for a key that would give an autonomous dignity to a theatrical adaptation of a film. Until I more or less consciously translated this idea into a staging, and created an intimate, direct and exclusive contact between two strangers, who cannot see each other, but who can sense each other; in a very strong way. One of the two was the actor, who remains anonymous in the credits, but whose name I’ll voluntarily reveal now…
Ha scelto la strada per vocazione
Ha di un’adulta la concentrazione
E un gran talento, il che non nuoce
Canto di allodola la sua voce
Arrampicatevi sulle sue chiome
Vi farà entrare non dico dove
Da lì dritto al cuore sarà veloce
Nel tubo con lei è presto detta
Sarete Romeo e lei Giulietta
E se questo monologo parla del donare amore, nessuno poteva interpretarlo meglio di Anna Maria.
Ora però allacciate le cinture e tenetevi forte, perché con voi sarà lei a guidare.