STUPOROSA

Thus, seemingly without reason, the five performers of Stuporosa weep, giving life to a weeping that takes on various nuances, now restrained, now stifled, now becomes music, now flows into hope, now becomes song tracing the sounds of an ancient Salento funeral lament. Their bodies fragment in search of archaic, distant forms that are instantly lost and dissolved. These forms are the figures of pathos, archetypal images of human suffering that have been handed down over time through centuries and civilizations, images belonging to past funeral rites but that have universal value because ever since it was created, human beings have always suffered in the same way. The five performers try to recover a sense of collectivity, a rituality, to establish new forms of mutual aid, whispering ancient magic formulas, evoking traditional dances, singing a Salentine lullaby. In Stuporosa, as in some ways happens in ritual weeping, there is a stylization of pathos, a dehysterization of it; and the performance itself is meant to be an invitation to reflect on the state of mourning, on the human need for a shared cultural institution, a communal ritual, to overcome moments of individual crisis.