0 Products - EUR 0,00
Go to cart

 

 

My first impression was that I wrote at the bottom of the book. I would see gladly, and would fight it happen, this poem represented among the outraged ruins of Babylon, near the airstrip built by the Americans during the Second Gulf War, or Palmyra, cut into pieces and sold off to traffickers of black stones killed by fix instead of the dwarves in the garden.
Meeting in these poems of Pope Marisa Ruggiero fantastic surreal mysterious and elusive component of images and metaphors far from any inauthentic literary emphasis. rich poetry and lives, but also so simple, sinuous to be captured and become this universal. And 'the rhythm of the dance that makes Jochanaan an interesting book that captures strongly since the first reading. In fact, just after finishing the book I felt the need to call the author to communicate quickly and extemporaneously than I'd appreciated. Lyrics that permeate each other in a single authentic poem of sacred dances, profane, an uninhibited sensuality but not performed. A shadowy religious sense that inhabits the actors of these verses. An exciting time reading and re-reading, where every single moment buys and regains energy thanks to the visionary talent and cultural back ground of the talented author, I decided to propose the interview without any questions. I extrapolated a few verses from the poems, particularly distinguishable verses and exciting. Marisa, woman of spirit and talented author, was so to the game that I have proposed some others.

        

    This hunger for virgin wolf fell naked in the garden

I gladly accept the game, as you call him, Flavio, to enter these verses that you choose, but I state: I just try to advance the "an outline" the explanatory text for not deny the reader an intuitive experience self, which I think crucial in a poetry reading, for those who want it. In this work I wanted to summon the words to create, say, figuratively, the theme, triggering enforcement mechanisms on the expressive level, convinced that the words are not to be subordinated to the theme, but vice versa. The drama, in fact, as I think, is not in the text, but by the living power of language.
Implement a desiring gesture means, for me, put out uncovered unsuspected strings that do not expect it to vibrate. Are districts of thought, figures modeled on the mind of imagination needs, all eccentric axis narrative. I intended to create a text-based machine as a living organism on the move played entirely on the restlessness of the opposing stage plans, often far apart in space and time and it is this vitality entrusted, in my opinion, to color, to the plasticity of the material, to give consistency to the images games, its atmosphere, its metaphors.

    ... Naked newborn - eye-east

These words lead a fairly explicit reference to the text of the climate: we act, on the conceptual level, the mysterious, primordial forces, they speak of a reality still immature, intact that is about to enter a destiny marked by a singularity of events via take away consistency. And 'the figure of a dancer from the remote mythical ancestry perhaps archetypal female imago, a vision, a utopia. has no name, no longer it has the name Salome, is a figure of the psyche, is a joint venture of the mind trying to extricate themselves from the iconography of certain stereotypes dramatic tenaciously unsettled historical imagination, a figure who camped on their own strength in the book all its compressed spirituality and came towards me ... you are the Dancer, is the dance itself, she is, therefore: revealing of the sacred.
Probably a gamble, I know, for our times now forget the many meanings related to the ancient dances, in that complex world and seductive ritual that no longer belongs to us, we have completely abandoned; but that it existed.
This poem has interested me the powerful friction between the fabulous world of myth, expressed by the sacred dancer and the emerging awareness of historical thinking represented by Jochanaan, - the other pole of the spiral - two powers strongly antagonistic, two being mode destined to remain split!

    ... Signs and figures enter the space

It was a sense this, which could fall unnoticed, and yet you, not surprisingly, have you pulled out ... but you know, poetic writing is almost always do-on experience with the mystery: how it happens that you are called back within a dynamic game of alphabetic signs and mental pictures, I can not say; I know that when you're in the neighborhood for the world we want to give up ... Maybe because I imagine they are, somehow, the words, substances "rhizomatic" embedded in our same fiber; They do not knock to enter, know the way, come. And sometimes they come unexpectedly cards of another game unimaginable even by the author himself ... In fact, I think the amounts poetry little that is put "words in his mouth" and even less would like to see themselves locked up in the trap between the square walls of a story, even compelling - but this is only my opinion - he wants to find himself the space in which to exist: after all she likes to be surprised, and loves even more surprising! I have the impression that our ordinary communication face, well, yes, yawn! while I know that instead you love the challenge and nothing but the challenge is the challenge that makes it exist. She basically wants us to dare something redundancies from the constraints of the word itself ... well, be involved in a game whose rules have not been invented yet ... It is following them, what else? to appropriate the lived experience of this substance, to learn the way it moves, to relate issues oppositions, polarities diehards, not by calculation, but for love. There, on the corner of my vision, at any given time, something happens, and burns ...

    ... To glide / between volcanic stands / in another mutation of the dream ...

Here, Flavio, you push me right between the quicksand ... Primary is for me the interest in the sense slippage, for the narrative dynamics away from temporal coordinates, including the sense of dislocation, in short, through the sensory field according eccentric tracks not willing to represent reality, but to transcend it! No, it's not exactly back into it, the reality of interest, (which, moreover, I always leave "in view of" the original referent, because the steps are recognizable to the other order of reality that advances) but try to know by living in it for raggirarla, cross it, transgress ... well, then, the filtered vision, even deformed the real, precisely because the real, whole organic system traceable in real is slipped elsewhere, absorbed into scriptural mechanism, in its various filters and transmutation processes. I would also at this point to say that the crunch "iperletteraria" is, for me, something completely different and opposite to my vision: to sit in a vault and prevent access to others.

    The stage is a heretical gallows that has bloodied the moon

The theatrical facility in addition to fall in this dramatization of speech images, has the task of fielding a highly iconic vision, plastic figural form rather than conceptual and descriptive. Here, the intense expressiveness, very chromatic has its peculiarities although, I know, can not be shared by all. It is understood that for a job of this type, the stage device is the only space where there may be, operate. Rather than tell a story, (those who think reading this book to find a description in tracing those biblical stories, will be disappointed) interests me, as I said, groped to make a dramatic transposition. This is not intentional operation, is inner action that acts as my magnetic field, filtered in a system of almost unaware attractions that aspire to take shape in my invention: something that has to do with a passion ... I asked the theater of my interpreter, to break the symmetry of the time, the logic succession, linear; I asked the stage structure to field acceleration, hallucinations: each image is a mirror of something else, each mask is expanded vision screening, each entity is double of someone behind the scenes or reflected in a mirror that transcends it, exceeds it.

    ... You can watch the rushes and arpeggios arcuare / tower

I preferred, as mentioned, cut the references related to any historical-literary certification to return the bare physicality of the figure of the dancer, her meet me in the middle of the scene, daring the scandal of his own spirituality. I took a kind of visionary itinerary - Intuitive around remote cosmogonies associated with mythological gods attendance of Middle Eastern world: the Sumerian Inanna, Babylonian Ishtar, the two female potencies related to cyclical regeneration celebrating the rites of sexuality, fertilization, and finally , the destruction as an internal dance to words. A dance of spring, solar benevolence and beauty; Then, contaminated by insurgents patriarchal ideologies, torn from one extreme pathos. It was necessary that the verbal structure adhered to the need to fund the erotic restlessness, which is the pivot of the whole text nell'assecondare scenic attitude that transforms advancing. It was necessary, then, that eros itself would create the plastic configuration of this vortex metamorphic agganciasse lit molecules creating spiral movements, be eminently relational subject, projective, eventually translate into Eventica image.

    ... Hang from sounds

This is not my invention, the profound spirituality of the dancer, just why the reference to ancient readings, concerning actual divestment rituals to symbolize, through the metaphorical passing of the "seven gates," the achievement of a condition of self-awareness of ' female individuality to offer as a gift to the beloved. Hang from sounds: drop one by one the signs of earthly power materials for a new hunger for simplicity and knowledge, this is the dancing creature a sacred figure, well contrasted with the interpretation which has handed down the church!
Interestingly, the subsequent cheapening and transformation in the Christian era the deep religiosity of these ancient rites in entertainment lascivious forms.

    There is no event, it is written, in the looks blindness

See and be seen: to be, always, is defined in the look: the whole poem revolves around the drama of a failure event, ie around all'inconciliabilità glances. The event exist, loves as you know, the relationship between unifying conscious subjects, so look deprive yourself, you preclude the event. This means, for the man of the poem, in a rarefied sphere of absence. Here in what consists the drama of Jewish dancer: his individuality, at this point, it can only regress to a cold stillness without identity or history. It will no longer be recomposed the unit brightness of body and intellect.

    How many blades on the face hasten / utter the brightness of evil

There is an invisible line that separates / combines the two places of the spirit: good / bad, two polarities in constant ferment, both functional relationship to the perpetual movement that is at the base of the economy of the system life, the natural balance in which we immersed: two living forces that belong to us in the marrow, perhaps without knowing really. Enter the "red zone" of the infringement, the danger, they shy away from a autoconsacrazione linked to conservation, alien concept, however, the art appearance. There is a peculiarity of the hubris that is art disorder, imagination dissipation, eros, being as energy; there is a radiance of evil that can not be silenced or betrayed, that it was affected in the extreme solitude.

    and hieroglyphics inside my body will explode

The Jewish dancer in rastremerà final sequences in the dance their physicality until you get to deny it completely. This happens when some sap of nature and the sacred does not intersect with the radiant lines of logos and do not recognize the unity of the senses and mind. Something was failing, it was dispersing irreparably in terms of a harmonious exchange between the two forces being: the legendary creativity of eros and the ordering of rational consciousness and historical thinking; a new era was knocking at the door, he determined to become the interpreter of power strategies firmly institutionalized patriarchal ideology, and to last.


Add comment


Security code
Refresh

GIULIANO LADOLFI EDITORE s.r.l.

Corso Roma 168

28021 Borgomanero (NO)

Tel. +39 0322 835681

This email address is being protected from spambots. You need JavaScript enabled to view it.

NEWSLETTER SUBSCRIPTION

I agree with the Terms and Conditions
© 2020 Giuliano Ladolfi Editore s.r.l. P.IVA 02254800036. All Rights Reserved. Designed By Francesco Teruggi

Per offrire il miglior servizio possibile questo sito utilizza i cookies. Continuando la navigazione si autorizza l’uso. To offer the best possible service this site uses cookies. By continuing to browse, you authorize use.