Exposition

Silvia Balestreri / Luís Fabiano Oliveira / Vandaceli Bressiani - Stuttering Machine, War Machine, Actorial Machine Carmelo Bene (last edited: 2016)

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Silvia Balestreri / Luís Fabiano Oliveira / Vandaceli Bressiani | Universidade Federal do Rio Grande do Sul, BR Day 2, 10 November, De Bijloke Auditorium, 09:30–10:00 In his Abécédaire—Gilles Deleuze from A to Z—in “C for Culture,” Deleuze states that he does not like theatre, with two extreme exceptions: Bob Wilson and Carmelo Bene. It was through Deleuze’s text “Un Manifeste de moins” that we came to Carmelo Bene (1937–2002) and to the several lines of creation that cross(ed) the work of this Italian artist. According to the philosopher André Scala, Deleuze and Guattari probably thought of Carmelo Bene when they wrote the chapter in A Thousand Plateaus, “10,000 BC: The Geology of Morals (Who Does the Earth Think It Is?).” Therefore, Professor Challenger, the strange Conan Doyle character appropriated by Deleuze and Guattari in this plateau, the one who made the Earth scream with his vocal metamorphosis and his voice that had become hoarse, would be, according to Scala, suitable for the dislocations promoted by Bene in his theatre works. These dislocations impressed Deleuze and other scholars, journalists and audiences, and can be seen not only in the scenic elements but also in the variations from one work to another, in the approximations and appropriations of different texts, in the unstoppable production of lines of flight in his work, and in the public appearances of the “character” CB—in his relations with the state and parastate, with critics, and with the audience itself. Carmelo Bene’s theatrical creations became more extreme with time, until he got to the conception of what he called “actorial machine” or “actorial machine CB.” This work intends to approach the concept of actorial machine, approximating it to the concepts of “war machine” and “stuttering machine”—or machine of stutter—a term we prefer to “antilanguage machine,” which is the term journalist Maurizio Grande used in reference to Bene’s work. Our purpose is to investigate the meaning intended by Bene when he referred to actoriality (attorialità) as a machine. In this presentation we intend to bring to light some impressions of Bene’s way of acting and creating, on the basis of our observations of his work—through videos, movies, pictures—our contact with people that were close to the artist, and recent research conducted in his personal papers in Rome.
typeresearch exposition
date10/11/2015
last modified17/04/2016
statusin progress
share statuspublic
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/237494/237495


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id name copyright license
256032 Balestreri, Oliveira and Bressiani ME21 All rights reserved
254597 DARE_Balestreri 1 ME21 All rights reserved

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