I t’s A l w a y s T e a – T i m e
I t’s A l w a y s T e a – T i m e Premiered 29th September 2011
A long table, whitely pure. The table is laid, is cleared. Carefully, very carefully, in a search for an elegance not aesthetic but related to emotions, to the taking care of small things. A place, a house suspended in time. Social rituals are held. An imaginary tea is had, no-‐food is eaten, with an eye to Alice in Wonderland. The idea is not distorting the world but creating a world sort of similar to the one we live in and whose basic codes spring from the dark realm of early childish fantasies. As in a light-‐hearted game, images that keep emerging and vanishing are arranged in a new story. It's a way of working through the grief over the loss of the father, of fathers, of the world. Life that Blows alongside death. What we are and what we used to be. What one has and what one misses, and nothing is as it looks like. “It's always tea-‐time”, says the Mad Hatter to Alice, revealing a time gone haywire, neither circular nor linear, just never changing. In this suspended time, where what happens is marked by sounds, rhythms, repeated actions and songs coming from an old radio, our investigation keeps focusing on the issues tackled in the Company's latest play, Never Never Neverland: childishness, body representation in the contemporary society, identity. Once more we make an extremely free use of different languages: theatre, dance, veiled hints to circus-‐like atmospheres, with an eye to silent slapstick comedies.
Tools and furnishings gathered from cellars, trunks and roadsides, are once again our accomplices in this investigation. Waste materials are born to new life, gaining an aesthetic trait they will no longer be able to abandon; and thus helping create a timeless world where to seek how to be what one is and, as if by magic, to be a Bleeting image of something else; where to Bind the breadth of the words to be said, to work on the threshold. To pay attention to the rhythm of bodies that come and go as if they were drawing signs and then erasing them. To ponder on the trail that every image leaves behind itself.
FULL VIDEO http://vimeo.com/30327622 PASSWORD teatime
Tea on the desert of living (extract) Teatro delle Moire gives the impression of being a continuously rising company, that every time seems to add to the baggage something from the results achieved in the previous experience: their ironic expressive style, biting, based on rigorous score of gestures, seems now completely matured, able to recall a wide range of subtle shades. (…) It's always tea-time is a kind of visionary rite in which four characters, without saying a word, incessantly set and clean the dazzling white table, in a room in a also dazzling white: it is a ceremony as elaborated as useless, because the cups, the plates, the glasses will remain hopelessly empty and the guests, that one by one will seat at the table, will eat inexistent food. Better saying, will try to become food themselves, sitting naked on the plates or laying down on the table cloth, or using the glasses as food putting them in the mouth. (…) The atmosphere is inspired, in a very distant way, by the world of Lewis Carroll, the Mad Hatter’s tea of Alice in Wonderland: but this is just a pretext, a pure game of similarities, because these short sequences of strong physical relevance - punctuated by a bewildered background soundtrack - well beyond the fantasy universe of the English writer, transcend the refined composition of images to become something else, something that regards the substance of our time. In a craving will of giving shape to the disorder of life, the line that connects the actions of the four performers, in their need to gobble reality, to become then the substance to be eaten, substance to be served at the table, there is in my opinion – behind the apparent lightness – the sign of a frozen lost of identity, an emptiness, an irreparable loss of the sense of the relation between man and the things he produces.
(Renato Palazzi) http://www.myword.it/teatro/reviews/5346 Milano , 2011-10-04
Concept and Direction Alessandra De Santis, Attilio Nicoli Cristiani Devised and Performed by Gianluca De Col, Alessandra De Santis, Attilio Nicoli Cristiani, Emanuele Sonzini Dramaturg Renato Gabrielli Project Assistant Celeste Sergianno Lighting Design Paolo Casati Organisation Anna Bollini International Booking Filipe Viegas Press Of@ice Renata Viola, 348 5532502, firstname.lastname@example.org Sponsored by Comune di Milano -‐ Cultura, PROGETTO ÊTRE -‐ Fondazione Cariplo
Info and Bookings 0039 3284259527 Bilipeviegas.email@example.com www.teatrodellemoire.it