The Man with the long blade, the long beard and smock slowly enters the room. There exists a meager set, very clear and concise, reduced to two platforms. One of them, the bigger platform, serves as a sideboard, but still we do not know for what exactly. A splatter piece with bestial scenes is conceivable in which the knife could play a role. Or a scene with ISIS fighters in Prenzlauer Berg comes to mind. The fantasies are in any case encouraged. I am relieved when a little later turns out: It is a normal dresser in a normal kitchen. The other side, however, a smaller platform, serves as speakers corner.

Clear partitions in this set. A work situation and, face to face, the place of public reflection. In particular, what this piece, based on the text “L’Orologio è Rotto” by Nora Cavaccini, is all about: life as an artist in real existing global capitalism. This gives rise to very real and pretty urgent questions:

Is an artist at all needed, when it comes to usability in economic terms alone? How deals an artist with his potential superfluity? Many things are possible and all possibilities between adaptation and total opposition have long played out in real life. Here takes place a gradual process that allows the division of the individual mind in full consciousness. It is the contradiction between freedom of creativity and merciless efficiency, and above all, the need to survive here, which provides schizophrenic situations not only for artists.

It therefore involves questions of principle. A clock is ticking away permanently, the passage of time is physically tangible. The dream of every artist is to achieve financial and social success thus unaffected by social constraints of their own creativity. But the time for the implementation of his own work is becoming increasingly scarce. Few achieve this dream. All other take on any job in order to pay the rent. And shift slowly away from being able to realize the own work. A gradual, creeping process, as already stated. Is this a decision, whether consciously or unconsciously, which is taken here? Or is this situation completely without any alternative, and consequently leads to aggression or resignation? In the best case it leads to reflection, as grandiosely represented in two languages, Italian and German, by Carlo Luiodice.

Again and again the attacks of working, the ever faster chopping with the knife in the kitchen, interrupted by text fragments that are taking place on the other side of the stage. Sudden outbursts, change of scenes, fast Italian language, then hard German, whose difficulties are worked out terrificly. The momentum is increasing. The clock is ticking faster and faster, then twice, chopping with a knife appears increasingly menacing. How will it all end? In a self-created mausoleum for the arts in which the artist himself celebrates his own suicide? Or towards a creative work that reflects the circumstances and leads to something new, something own?

On 3 / 5 / 6 / 7 December respectively at 20:00 at Ballhaus Ost we learn the answer!

Performance with CARLO LOIUDICE
Concept/Director ELETTRA DE SALVO
Assistant Director/production manager GIULIA MANINETTI
Light/sound design/stage EVA GUTIERREZ ALONSO

After “L’orologio è Rotto” by NORA CAVACCINI (caratteri Mobili)
Media partner false manners productions
Illustration by DANIELE ROCCARO

on ITA and DE

A production of Loiudice/deSalvo/Cavaccini in collaboration with Italienischen Kulturinstitut Berlin and Ballhaus Ost Berlin


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