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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.



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) 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, Sponsored  by  Comune  di  Milano  -­‐  Cultura,  PROGETTO  ÊTRE  -­‐  Fondazione  Cariplo

Info and  Bookings 0039  3284259527


by Teatro delle Moire, Milan