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a cura di Genealogie del Futuro
Inferno e paradiso
un progetto ludico a cura di Genealogie del Futuro e collettivo scafandra
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di Costanza Mazzucchelli
di Flavia Parea e Paloma Pertot
Ascolta On Play Pretend And Other Girls Sports su SoundCloud.com
Once upon a time there was a lady.
I’d love to tell you a story, if only I knew one.
It keeps following me. Incessantly.
This desire to explain, unfold pictures with words, talk.
But what I have in mind is a telling with no beginning and no ending whatsoever.
Once upon a time before she was a lady she was just a girl.
A girl who still lived with her parents in her old mossy little house in a townish, toy, toodles town.
There were cats, lion lookalikes, wet poker faced ducks marching around ponds and prickly boys chasing footballs down the street.
In that town there was a carnival.
Each year when violets and primroses started popping out of the snow and grandma stopped forcing fur hats over her ears, people gathered in the squares to celebrate the arrival of spring.
Some would dress up as blossoming bushes, blue birds, faires… a frill filled imitation of the hope that warmth can inspire.
Out with the old, in with the new.
When I was a kid I used to lie a lot.
Lie about the incredible and the ordinary, mix them all together.
I’d tell you the ice cream truck ate your brother while you were sleeping. Confuse the listener.
By introducing ties to the factual I made you believe the unbelievable. It was a multiple choice reality that I lived in, and I was simply sharing all the options I thought were available.
My grandma used to tell me stories about the tiny village she grew up in and apparently there was plenty of magic going on around there, werewolves, witches, spells, curses by old women, aliens, goblins, ghosts
Pass me by, immobilize me, stunned
One evening, she told me a story about a wolf a man a wolf
a man who kept annoying young girls in the streets
You see… this is one of the reasons why I’ve always felt a bit uncomfortable in that place.
Daddy used to take me walking down the streets, he said find your way back, big big world but you got it girl, find your way back don’t let this life drive you crazy but how am I supposed to find a way if I’m not sure of what is the back I know too little about my past and I have to build it up.
… I’m not feeling good right now, I got something stuck in my throat that can’t go up or down.
It stays in the middle, IF YOU STOP YOU ARE LOST.
I have to build myself up build myself up build myself up maybe I’ll become a bodybuilder
Ahhh mirror mirror on the wall, what are you going to tell me today? Don’t tell me that I’m cute, I wanna be mind blowing.
Once upon a time there was a carnival and there was a girl
Expression express, confess your aspirations through fashion, my dear. My dearestt
Ah, Mary, how nice to see you here!
Ah what a lovely scarf you are wearing. I am sorry but I must ask, who are you supposed to be?— a cat?
Ah of course now I see it! How elaborate! How original!
As she walked a cloud of dust formed around her from the amount of setting powder she pressed onto her face. A quiet pride warmed her heart. She was finally able to be who she wanted to be.
Ah, dearest. and you? Who are you supposed to be? All of them squinting at her, trembling in wonder.
A woman. I dressed up as a woman.
Oh, hahah, a woman. But dearest that is not a costume, dearest… you are a girl now but one day you’ll be a woman.
You’ll see. Ahahaaha.
We really have lost our touch for critique.
Once upon a time.
Once upon a time. There was a time that only happened once.
Once upon a time there was a story.
A girl.
Once upon a time. She keeps going back to that time
Once upon a time
But now there’s none
Once upon a time.
She knows the story but sometimes she is afraid that it’s the wrong one.
Once upon a time.
Sometimes I think of Shaharazade, you know, the story behind A thousand and one nights.
A thousand and one nights nights nights nights
Notes on interpretation
• Narration here is intended as a gesture of composing (this girl, me, is not interested in creating). With the same attitude, fabulation is conceived as an exercise representing the worldbuilding ability that language possess.
… tiens ta parole et un, deux, trois
Plié, Battement Tendu, Battement Jeté, Rond de Jambe, Battement Fondu, Frappé, Grand Battements, Jambe à la barre.
Posture is fundamental!
• Everything I see, hear, experience, practice, think, dance and read forms an orchestra, I imagine.
Different layers of fiction, and different degrees of fiction, can co-exist, alternating effortlessly.
Seeking identification with the real through practices tied to the imaginary. Alternative, speculative realities expose the problem that emerges when events are presented as facts.
• Stories are a form of conversation and my story is built as the result of a collective way of thinking. Storytelling is indeed a collective practice.
We all want to re-place the narrative gesture in its multisensorial (thinking about the power of voice ofc) and collective dimension. Who needs an author?? No Wanderer above the sea of fog alluded here.
Play with storytelling, explore bodybuilding through relationship-forging writing forms.
• No fable is linear. I am not linear. I am full of sediments and my tale is rhizomatic, as yours.
Think of me as a decentralized storyteller, and I’ll think of you as a co-creative listener ☺
Flavia Parea (Roma, 1998) attualmente vive e lavora a Roma. Ha studiato Letteratura Contemporanea presso l’Università di Bologna e ha conseguito poi la laurea magistrale in Arti Visive presso l’Università IUAV di Venezia. Particolarmente affascinata dall’impatto multisensoriale della parola, la sua ricerca interdisciplinare si colloca attualmente al crocevia tra pratiche di scrittura alternative, publishing indipendente, Queer studies e studi sulla performatività linguistica. Ha una particolare attenzione nei confronti del legame tra pratiche curatoriali e di scrittura.
Paloma Pertot (Lubiana, 1998) vive e lavora a Venezia. Si è formata in Letteratura Comparata e Screenwriting presso l’Università di Lubiana e ha da poco conseguito la laurea magistrale in Arti Visive presso l’Università IUAV di Venezia. La sua ricerca si concentra sulle potenzialità espressive del linguaggio sonoro come strumento performativo di analisi estetica e politica della realtà circostante. Prova particolare interesse nell’esplorazione delle espressioni narrative sonore e verbali non lineari, indagando attraverso di esse i temi dell’autofiction e dello storytelling.
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