- ISSN 2039-800X
Trimestrale online di cultura cinematografica
Diretto e fondato da Luigi Abiusi
anno VIII | UZAK 28/29 | autunno 2017 / inverno 2018

uzak 12/13 | autunno/inverno 2013

registi 3

Editoriale. Specialmente il cinema
Luigi Abiusi

Il corpo (filmico) della musica
Alessandro Cappabianca

La Tauromachia. La mente che astrae e il sangue che scorre
Giovanni Festa

La Storia è un'astrazione: intervista a Edgar Reitz
Giampiero Raganelli

Il cinema come corpo chiuso: intervista ad Andrea Pallaoro
Vanna Carlucci e Gianfranco Costantiello

Coreografia tragica: Medeas
Luigi Abiusi

Attesa di un'estate
Vanna Carlucci

"O passado e o presente": inventori di un tempo immaginario
Diego Mondella

Tabu e la saudade dello sguardo
Nicola Curzio

"To be for peace is not a political statement". Essere per la pace non è una posizione politica.
Martina Melilli

Inside Kotoko: analisi audio-visiva
Giulio Vicinelli


Film d'autunno - Nessuno tocchi il sogno
Michele Sardone

Plenitudine del vuoto
Bruno Roberti

Da DeLillo a Cronenberg: la bolla del tempo
Raffaele Cavalluzzi

Metafisica degli eccessi: Bling Ring
Vincenzo Martino

Mi piace lavorare: L'intrepido
Francesco Saverio Marzaduri


Immensee - Il perduto amore

Vito Attolini


Prolegomeni del serial-TV
Lorenzo Esposito

Ecce Homeland
Michele Sardone


Is this land mine? (può una domanda far partire una rivolta?)

Silvia Calderoni

«Scrivere un’altra fine con altre finalità».
Conversazione con Armando Punzo

Gemma Adesso e Matteo Marelli

Corpo: casa-prigione

Gemma Adesso

Mercuzio non vuole morire

Matteo Marelli

Il ritorno a casa

Luca Pacilio

Di fronte agli occhi degli altri

Matteo Marelli


Stars Are Our Home. L'educazione synthmentale

Luigi Abiusi

Tomorrow's harvest

Gianfranco Costantiello

Is this land mine? (Can a question start a revolt?)

Silvia Calderoni


Soundtrack: Eddie Vedder – Guaranteed

I've been postponing this writing for a month. Not because of laziness, nor due to lack of time. It is because there is a doubt I can't solve. Let me explain.
Writing a theatre column.

My initial idea was to try to convey to you, in writing, an experience I lived this summer in Romania, at the summer festival of Rosia Montana, where music, theatre and workshops are connected to a struggle in the middle of the Romanian mountains against a Canadian multinational which plans to reopen a mine to extract gold, therefore to make the whole valley “sick”. (Words like STRUGGLE...VALLEY...the analogy to Susa Valley is evident...).
Our project is a bizarre one. On paper the plan was a theoretical and practical theatre workshop, in practice it's been an interstellar journey starting from mud, starting from a question:

IS THIS LAND MINE? (can a question start a revolt?)

We asked participants to imagine a collective action of whatever kind or duration without limiting imagination and without braking their minds.

«What are you ready for when you participate in a workshop? What do you expect? How much of yourself are you willing to put in the game?»

We defined these questions as inputs for the work and as we actually arrived there they obviously changed to a material status, from theoretical to the solid grounds of essential issue and statements.

And here comes the doubt.
I don't know how interesting it can be to dissect the work stage by stage, to let you in a lived experience as in the way we make a radiography.
I hate diaries, I feel uncomfortable in narrating, commentaries make me sad.

What I can do is to try to donate some images to flip through as notes found in some stranger's suitcase. I can put in this page elements of a different nature, without indications on what language we used.
I leave you to this practice. In the same way as I leave to the audience maximum freedom in reading my actions when I am on stage. 



Note number one. Photos of the workshop location.

Note number two. Bobby Chris' writing (workshop participant).

Who I am? Who we are? Where I am?
The Mountain?
The River?
The Music?
The People?
The Fountain?
The graze?
The Rocks?
The ways?
The Bread?
The People?  
The War?
The Deal?
The agony?
The fear?
The tear?
The fresh air?
The wind?
The trees?
I’m the one who got the keys
I would like to speak with them and tell them I am also a tree.
Not as brave and beautiful as they are.
Not as hight and right by far.
Just a little one with no leaves,
Probably taken by those thieves.
But as I try to cry out loud Who I am,
my last breath turns into phlegm
My tears drops out from my eyes,
And I know I will lose all my ties.
But What any sense would life had
If there won’t be something bad?
What would make us to fight
If there won’t be any light?
I’m not an environmentalist
Jew, baptist or even atheist
I coexist in the places you’re afraid to exist.
I’m the strange tree with no leaves
Take all you need, except my beliefs.

Note number three. From the exercises notebook, excerpt of work material.

[…] a collective physical work, interconnected with personal intuitive expressive tools. Relation between inside and outside. The inside (the tent) is used as an observation point. The outside is a space for action. (Limits of the outside are defined by the limits of the internal observation point).

A common listening without the need of actual words. We start with a guided warming up exercise for the body, which is not uniquely aimed at warming up, but also at connecting everybody to the same collective level of concentration. First humus for common language. During the exercise the guide starts to render every mistake a new common gesture. Making from one's mistake an action of everybody.

Note number four. Stefan Aganencei's proposal for a collective action.

Hi, I'm Stefan Aganencei, and my idea describes a silent wedding, very pictural and symbolic like Melancholia, a film that's very empathic with a picture made at Rosia Montana by a famous romanian filmmaker Dan Pita: "Stone Wedding"(the main ideea is traveling betwen a lifeless wedding to a dystopic funeral) I imagine three brides dressed with local wedding clothes and maked-up with white creme until their faces become intangible as expression; this trinity is courted by many gentlemens as such as many volunteers (wherever they are boys or girls); each potential husband brings to them a bigger gold stone - each is being rejected on his turn; with this failure, all them, a sort of "don quijote's" clones are bringing now bigger hands of raw earth, (three women -the illusion of three windmills), they suceed to marry them - a cavalery of boys and girls proceeds in the wedding party with those three, the joy is disturbed by a rain of earthly dust from the
roof of the tent; all people feel an absolute lust in this dance converted now to a funeral march of redemption,  finally the brides and the conquerors become mimes, and all people are loosing eachself in each other's dust in a living although motionless cemetery. That's all I can describe to you, I'm in Rosia Montana now, so I can just text from my phone, the entire season of images you can find it watching Lars von Trier's Melancholia and Dan Pita's Stone Wedding! Best Regards and anxious to meet you soon Motus and TVO!

Hi again, this time I will say it more directly on scene chapters:
1. all people implicated in workshop are buried in dust, in small recent digged graves, upon the graves stands flowers with the strains filled with joice straws for the candidates breath;
2. a soundtrack of an asthmatic breathing proceeds a downgrading of the flowers until the their heads, now at the surface eat the plants and the group had enlivened;
3. they all get up and stand sympathetique, grieving and expressionless for the people who sold their homes in Rosia Montana and moved to Recea, the Gold Corporation relocation home camp where they lately suicide (which I will strongly documenting in the morning from a local antrepreneur) simultaneously in the background the psychodrama voices present an short autobiography of the decesed;
4. the sound moves to an industrial scream, shaken only by the blindness motion of the "forensics spirits" who enter hazardously in the tent interior walls, and then suddenly fall out of their foots in an alternative way;
5. All members of the group will return to earth, but this time the breath will initially increase and slowly decrease, until a longly sigh...

Note number 5. Maps.

Note number six. Correspondence with artists/activists of the festival.  

- Which are the collective actions that you  adopt in your fight (marches, blockades, songs ...)?

Save Rosia Montana Campaign is a complex and comprehensive fight. We use a lot of tools such as: direct actions and lobbying at a national and international level; letter¬writing actions and alerts; updates and information releases for Gabriel's investors and shareholders; litigation; seminars and presentations for the locals to inform and assist them in developing economic activities alternative to mining; the protest festival Fanfest; cultural activities.
Here are some examples of collective actions: protests in the streets, photo bombing, occupy actions, flashmobs, stenciling, grafitti and postering actions across the country, marches on feet or bikes from different cities or countries to Rosia Montana (this year we have several: Travel for a cause, We love Rosia, and another 3 in Romania) etc. Here you can see a presentation of Save Rosia Montana Campaign (from page 63 there are photos from our actions).
At the end, could you send me a program of the festival  and a link to the website?
Civic theatre
We will make the changes with the presentation you sent us.

Note number seven. Workshop.

Note number eight. Questions coming from the audience during the opening of the workshop.

what make a fight violent?
does home equals identity?
would you like to help us to extend the fight against gold corporation in other sites, in the whole romania?
did you give up hope?
does the earth belong to you?
ce este rosia montana?
what is the most important thing for the community's survival?
what is the oldest memory you have about rosia montana?
who are your neighbours?
do you ever think about the fact your children won't be able to drawn rosia montana?
how would you like to be remembered by your nephews?
for the people which are here for the first time: if they will came back at rosia montana?
how do you see rosia montana in 2050?
is the spirit of the mountain just a legend?
what is dignity to you?
what is a land with a whole or a hole?
how would you feel if tomorrow it won't see what is around you now?
is mountain a mine or a mime?
can miners become firemen?
what is a community from your point of view?
why some of you agree to destroy this area?
are you happy?
what can i do?
is this land mine?
is this landscape real?
what do you need?
why do you still live here?
is gold just a mineral?
except gold, whatelse kept people together in rosia montana in history?
can you put a price on freedom?
what would you do if tomorrow the gold exploitation start?
which is the most quite place here in rosia montana?
why do you came/leave from rosia ?
how do you like a new black lake, black church, black people?
name (and speak about) a place in r.m. where you used to play in your childhood?
what future for your kids in 20 years?
does the idea of “community” have any value to you? what is it?
are you willing to defend your land & your lives no matter what?
are you happy?
what is the most valuable thing for you?
are the legend or old folklore songs about miners in this area? (if yes, please tell us the lyrics or sing it for us)
if it will ever be necessary, how far are you prepared to go for your land?
are there any days when you are not thinking about the gold hidden under the mountains?

Note number nine. Stencils.

Note number ten. Lucia Marneanu's proposal for collective action.

Hello, I’m really sorry I couldn’t answer earlier. I hope it’s not too late.
Idea: one day of questioning the local citizens in Roșia Montană about places of their village that have profound sentimental significance (value) for them. Kind of like actors going through a collective "treasure hunt".  But not golden treasure. Then make a short sequence of scenes out of their stories/sensations related to the question «What is treasure?» or «What is golden?»  or «Value» etc. Througout this final product we should somehow make use of different signs (particularly red signs connected to roads, maps, limits, interdictions etc).
Roșia=Red; e.g:
Prohibition symbols
Budapest in 1910
See you in R.M.

Note number eleven. Camilla's imaginary.

Note number twelve. From exercises notebook, excerpt from working material.

We start from the inside of the tent. We explain that it is the focus and observation point .
One by one (from the inside) we choose a point (of the outside) and we take a position. Every choice is preventive. In the same moment one finds a position to remain still in (standing or sitting) the second one immediately moves and positions her/himself. Until the last one. A picture is taken from the tent. As we give a signal everybody runs back to the tent. Then we start over.
We start from the inside of the tent. iPad  is positioned on the border of it, on a stump. Everybody looks at the screen as  an observation point.They study it. We explain that it is the focus and observation point. One by one (from the inside) we choose a point (of the outside) and we take a position. Every choice is preventive. In the same moment one finds a position to remain still in (standing or sitting) the second one immediately moves and position her/himself. Until the last one. A picture is taken from the tent. As we give a signal everybody runs back to the tent. Then we start over.
(Possibility to break the mechanic of the exercise adding the variation of not starting over every time or not to be all the seven of us)

We start from the inside of the tent. iPad  is positioned on the border of it, on a stump. Everybody looks at the screen as  an observation point.They study it. We explain that it is the focus and observation point. One by one (from the inside) we choose a point (of the outside) and we take a position. Every choice is preventive. In the same moment one finds a position to remain still in (standing or sitting) the second one immediately moves and position her/himself. Until the last one. A picture is taken from the tent. As we give a signal everybody runs back to the tent. Then we start over.



Keeping the precedent mechanism we add some suggestions. (for example Bobby's writing, to check again quickly tomorrow morning, re-adjusting the sights). Everybody is in the tent and listens. The text will be recorded or amplified right there so to work on flowing things...I don't know).
The audio is played in the outside space trying to re-create a relational system (action-reaction) connected to the suggestions we received before. Suggestions may not be taken in a figurative way but as an input to TRANSLATE in a physical-spatial-relational form with the eye pointing at them.
Possible suggestions:
•    Bobby's text
•    We ask Marta to improvise with closed eyes on things that, when combined, produce other things (ex. Water-flour- yeast-heat bread)
•    we ask Stefan to improvise narrating his vision as it was a story in first persona
•    we ask Mihaela to improvise a story about a world in which natural resources are over (a description of a future vision, placed maybe here...)
•    we ask Lucia to improvise on questions, starting from these: What is treasure? What is golden? It would be interesting to improvise on narrated maps too
•   we ask Teodora to describe her subjective vision translating it in a real action, not performative.

Note number thirteen. Us.

Klitter's note:

I just finished the english translation, I sent it to a friend to have it corrected and to a Romanian friend for a second translation. You gave me the opportunity to think a lot while working on this article and trying to imagine what and how. I felt very close because your notes reminded me of “Collective Masturbation Ritual” notes, that we organize as Klitters. We start from the concept of collective intimacy and we try to create an internal and an external safe and intimate space, overall a space where it becomes possible to fuse individuality and collectivity in a circular movement, a cyclical movement starting from and going back to one's self. This ritually creates an energy for collective agency which can be “recalled” as an empowering tool in every moment of life, of struggle. By sharing my thoughts I want to compliment again for the amazing workshop you brought to life in that mountain. I am sure that with its rituality it also recalled ancient energies to translate them in new sounds, movements and poses.

(Versione originale)

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Speciale Crossroads 2017

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