The Chela, the Saint, Father Sergius von Tolstoy or the Jedermann enters and breaks through the door like a mystic in the church, like a newborn in the womb. The Buddhist monk always has little with him, a bowl and the rope that surrounds his hips: is it the fisherman's soul / human net that he is casting? The christological reference returns and directs me to the next image that transforms into Pasolini, sacrificed on the altar of truth, the antihero par excellence of Italian bigoted communism of the 1970s, who denounced the dictatorship of the righteous before going into the open Sewer of a putrid and rotting Italy was stoned.
I detach myself from the here and now in order to grasp the key to the problem, to that life that the mystic contemplates and the antihero wants to leave behind - finally free from duties and burdens. "You only leave footprints in the sand that are wiped out at high tide," I read years ago on a mural on Tao Island. But can one be free by depriving oneself of the other?
When Thormann squeezes out his robe - like Linus his blanket - I feel my heart sink, and another antihero appears. The romantic Che - like all revolutionaries - real, or sensitively sublimated by Soderbergh, who does not believe in God, but in people. He knows that he can lose and remembers: "If you don't fight, you have already lost". But David will never defeat Goliath. Capitalism, which imposes schedules and rules on you to sell your life against the illusion of security, also convinces you that belonging and conforming to the system is the only possible world.
For a moment the man is mistaken that he could become a sparrow - but the flight is short. The inherent femininity causes us to tear ourselves apart. The monolith from 2001: A Space Odyssey has not yet discovered the primacy - it prevails or it succumbs. And then it is necessary for Sisyphus to take on the weight of the world, this humanity who beats like a moth against walls that do not seem to exist because they are made of transparent glass, but withstand every effort and extinguish the last flap of their wings. Marilyn Loden's ceiling will also be made of crystal, but we can't break it.
How can one renounce humanity without renouncing one's own humanity?
The piper who is leaving is the one from Hameln (from the Brothers Grimm). And we follow him like mice towards the abyss. I feel like I've been holding my breath for 50 minutes and now when I return to breathing I feel alive like I haven't in centuries. Antonin Artaud theorized that the theater, like the plague, appeals to "forces that lead the mind back to the source of its conflicts by example". Theater is revelation because it "urges people to see themselves for what they are, to drop the mask, to expose lies, to laxity, baseness and hypocrisy". Imre Thormann realizes these theories on stage in a close and punctual dialogue with the clarinetist Pierre Lassailly - transformed into a narrative that needs no words because they are inscribed and engraved on the body (even without the tinsel of fake blood) - in the emphatic and revolutionary contact of the meeting bodies.
Why does political power fear the public square and the theater? Because men and women who manifest, who share an aesthetic or ideal experience in a real physical space, can use the power of beauty to undermine the status quo. Thormann carries out a silent revolution with the power of sweetness.
The rest is silence.
Original in Italian