Le performance dell'inorganico nel progetto “Achilleide” di Carmelo Bene

Abstract

In the research defined by Carmelo Bene as “Achilleide”, the project on Pentesilea was divided by Carmelo Bene into two moments: the macroscopic change in Momento n. 2 concerns the solitude of the actor-artifex on stage, who, to the human presence of Anna Perino, now prefers an inorganic scenography, leaving more space for the post-human dimension. Bene’s theatrical research can never be said to be separate from poetic research, it is precisely with the writing of Pentesilea that the work on poetry intensifies, within which the figure of the android-doll will play a central role, up to the culmination reached in the unpublished poem Leggenda, whose first appearance occurs precisely in 1990, with Momento n. 2. The stage is a battlefield of dismantled mannequins and shreds of fabric, in a continuous tension between the organic and the inorganic, where objects take on a performative power capable of modifying every situation: everything – including the spectator and the script – tends to be incorporated by a deadly state, which decrees, once again, the end of every performance.