{"id":18840,"date":"2024-10-29T14:29:34","date_gmt":"2024-10-29T14:29:34","guid":{"rendered":"https:\/\/teatridivetro.it\/uncategorized\/trickster\/"},"modified":"2025-01-24T14:10:01","modified_gmt":"2025-01-24T14:10:01","slug":"trickster","status":"publish","type":"post","link":"https:\/\/teatridivetro.it\/en\/programme-2024\/trickster\/","title":{"rendered":"TRICKSTER"},"content":{"rendered":"

“Looking at F. Bacon, I have the feeling that the body is escaping. B. Keaton also escapes as he falls; he escapes precisely because he falls. What is he escaping from? His own presence. He is elusive. He has no fixed form, because as soon as he settles into one, he is startled by an emergency that requires him to assume another one. The body melts, drips, is moved, escapes from sight; its kinetics cannot be contained within anatomy. It is a body possessed by forces.<\/span>
\nThe use of quotations feeds the continuous passage of other matters within the dancer’s flesh. Pixels arrive, as well as electric jolts, ephemeral images from the web, from film archives, from film transformed into digital, and all of this becomes flesh, weight, muscles, acrobatics, and breath. It becomes the life of an animal in front of me, as I watch. This human body itself becomes the montage.” V.S.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Looking at F. Bacon, I have the feeling that the body is escaping. B. Keaton also escapes as he falls; he escapes precisely because he falls<\/p>\n","protected":false},"author":2,"featured_media":18205,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[75],"tags":[],"autore":[],"class_list":["post-18840","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-programme-2024"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t