Intervista a Pirandèlo MIT 05

INTERVISTA A ANDREA GABRIELE, MARITA COSMA E CLAUDIO SINATTI DI BERTRAM NIESSEN

Pirandèlo è l’incontro tra Andrea Gabriele, Marita Cosma e Claudio Sinatti, impegnati nel curare la musica, le immagini e i video di questa nuova collaborazione. Loro stessi lo definiscono come “un contenitore di musica, fotografia, video e scrittura; il mezzo di un viaggio che parte da un’organica e tangibile astrazione fino ad una cinematica e sinestetica narrazione”. L’audio della performance live-media di Pirandélo (Andrea Gabriele aka MouLips) attraversa l’elettronica, l’ambient ed il pop in un viaggio onirico e spesso magmatico; gli elementi visivi sono diaproiezioni (Marita Cosma) e video (Claudio Sinatti) che si spostano tra gli schermi, suggerendo immersioni in mari caldi. L’inizio del 2005 segna la partenza del loro tour europeo dopo alcune preview italiane (come a lo Spazio Lima di Milano e il Netmage 05 di Bologna). Li abbiamo incontrati per parlare del loro live…

È esatto dire che siete Sinatti + Mou, Lips!? Ovvero, vedete questo progetto come un incontro tra le due realtà o come una costruzione ex-novo?

Claudio Sinatti: E’ stata la prima collaborazione tra Andrea e me. Dopodichè, assieme a Marita, abbiamo sentito il bisogno di iniziare un progetto nuovo che includesse tutti gli elementi che ci interessavano (il suono, le immagini, la narrazione…) e che ci permettesse di lavorare su materiale nuovo, di influenzarci direttamente e realizzare delle cose basate su di una struttura elaborata assieme.
Marita Cosma: Pirandèlo nasce dall’incontro delle nostre realtà e più che qualcosa di costruito, pensato, è una convergenza di vissuto, cercato, trovato.

Andrea Gabriele: E’ sicuramente un progetto ex-no Perchè il nome “Pirandélo”?

Marita Cosma: Tema di maturità: una partita a scacchi tra il verderosasperanzaspadatratta di un romantico Foscolo e i riflessi di buio nello specchio spaccato a terra da Pirandello in persona post-relatività einsteiniosa, come riflessi di luce di candela nell’ombra di un era. E Andrea che un giorno poi se ne esce con un raccontami-di-Pirandello e dal tema della relatività all’insostenibile leggerezza dell’essere si è perduta una “l” e trovata una “è”. Lo spettacolo che ho visto allo Spazio Lima aveva una interessante integrazione di audio, loop video e diapositive manipolate con la sfocatura delproiettore (correggetemi se sbaglio). Sono sempre questi gli strumenti che utilizzate?

Claudio Sinatti: diciamo che sono gli strumenti più naturali. C’è stato molto poco di pianificato nella preparazione di questo live. Ognuno di noi ha messo in Pirandèlo quel che sentiva individualmente, sapendo già di avere un forte feeling con gli altri due. C’è una sintonia molto forte tra noi e questo ci ha permesso di basare il lavoro su “dettagli” come le scelte cromatiche, mentre il resto è venuto da sè. Credo che uno degli elementi che ci unisce è il fatto che siamo tutti e tre innamorati : )

Andrea Gabriele: Innamorati, bhè, Claudio ha ragione. Parlando invece di “integrazione” tra audio, video e dia, solitamente il primo passo lo faccio io creando la musica, ma sempre più spesso la mia musica, nello stesso momento in cui viene suonata, è pensata per delle immagini, o più precisamente per delle ‘situazioni’.. caldo, freddo, umido, colore. Poi, nei live accade che l’empatia tra Claudio e Marita crei delle forti sfumature a me nuove, ed è lì che mi perdo con “dolcezza” nell’improvvisazione.

Marita Cosma: Io e il diaproiettore siamo in buona amicizia ma ancora non ci conosciamo a fondo e, ritrovandoci di volta in volta in un contesto diverso, manteniamo il nostro dialogo sugli assi “sfocatura” e “ombra” per spaziare poi, a volte, nell’uso di oggetti ad-hoc. Di dia in dia come di momento in momento: combinazioni, di volta in volta, tra un umore, un rumore, un dolore, un amore e l’altro… Come gestite il rapporto tra audio e video? l’impressione è quella di un viaggio fluido e non necessariamente collegato. Non sembrano esserci degli eventi audiovisuali sincronici, è così?

Claudio Sinatti: c’è un flusso onirico nei nostri live che credo risentirebbe di elementi teatralmente sincronici. Dal vivo i suoni e le immagini di Pirandèlo si inseguono e creano i propri occasionali sincronismi naturali, ma lasciano soprattutto spazio allo spettatore di trovare il proprio ritmo, i propri sinc. Credo questo sia un elemento molto importante delle nostre performance.

Marita Cosma: E’ con mia meraviglia che il ritmo della pellicola si fa specchio sulla musica, superficie che ne condensa il vapore o calore, che ne distingue le gocce: come una sincronia mai esplicitata eppure desincronizzata e poi ridefinita su più livelli, asincroni in apparenza ma corali in presenza. Si basa tutto sull’improvvisazione, avete un canovaccio o una vera e propria partitura?

Andrea Gabriele: C’è una scaletta di brani (che puntualmente sbaglio). Ci sono files sparsi qua e là, ed a volte il file che apri non è quello che volevi. Almeno per me, l’improvvisazione determina parametri come la velocità, l’intensità, la durezza, la dolcezza, la struttura della musica. Il canovaccio della sera prima è una scusa per sentirsi “preparati”…

Marita Cosma: ci sono gli storyboard di Claudio, le .jpg delle dia e le tabelle audio/dia/video/audio scarabocchiate e/o stampate qua e là, ma poi c’è il live che le reinterpreta e riorganizza e vanifica e sublima. Come su di un pentagramma fluido. Nel vostro lavoro, l’interazione tra le diapositive e il video sembra essere l’elemento visuale più interessante ma anche più difficile. Come affrontate la cosa?

Claudio Sinatti: nel live attuale cerchiamo di utilizzare le due fonti come layer separati di un’unica immagine. Marita ha trovato un modo per rendere animate le diapositive proiettate, mentre molti miei loop si sono rallentati, sono diventati più statici. Questo crea un compromesso in cui foto e video si confondono e l’immagine diventa una sola. Un altro importante punto di fusione tra i media è il colore: sia nel video che nelle dia abbiamo alcuni elementi che sono quasi esclusivamente macchie di colore, altri che sono (o sembrano) più tangibili, delle forme. Marita ed io cerchiamo di sovrapporre elementi diversi, così una dia rossa tinge un volo di uccelli o un loop blu colora la foto di un albero…

Andrea Gabriele: Sono entrambi innamorati…

Marita Cosma: Senza paura. Quando mi tremano le dita per lo stupore so che i pixels stanno danzando la loro sinattica danza e mi commuovo. Che poi Claudio e io cerchiamo anche di capire le necessità delle note per incontrarle, seguirle, affiancarle o portarle fino ad un sorriso o allo sguardo che segna la chiave di violino, definendo e ridefinendo ogni stop&go over and into the sound as well as on and into the spaces, ma diamo anche, indefinitamente e con gioia, il fianco alle loro fuggevoli identità. Senza remora, come fossimo ancora e sempre alla ricerca e ogni caso valesse tanto quanto una coordinata (x, y, z)=eureka![cilck]altro frame, altro accordo, altro file, altra pix.

intervista tratta da http://www.digicult.it/digimag/articoli/audiovideo_bertramniessen_pirandelo.html pirandelo e il box multimediale february 2005 – www.digicult.it (interview)

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