Compagnia Finzi Pasca & Carbone 14
Sometimes strange presences come to visit us, like shadows from unknown memories, from illusion or from magic. They have the consistency of a “déjà vu”, the density of a dream, the strength (vigour) of a calling. Suddenly a world made of unknown memories opens up in front of us and gives us glimpses of future and past that are overlapping each other. We have the sensation to be visited by messengers who have come to dialog with us, bringing secrets, bringing lost images and premonitions.
I think that we all have been visited, at least once. We all have experienced strange and mysterious encounters. And there are places that favour these events. Piers are among these places; strips of land like bridges between sea and earth. Places where to withdraw, where to stay alone a moment, like a solitary castaway. The talk of the fishermen, fastened to the sea by a slim nylon thread, peoples the piers, ever present. The dense silence of the poets. The stupor of the tourists. The craving of women to runaway from home.
Like a pier, the stage is a place that favours certain visitations. Without its phantasms a theatre is not a theatre. We breathe an ancient air, dust, and if we keep silent we may detect echoes: they are sentences, laughter, tears, love and unfaithfulness, they are the noise of humanity. If we can listen to it from far away, we have the impression that it is always celebrating in a kind of folly. Theatres are like shells in which the noise of the human sea is kept. Theatres keep the restless doubts and insecurities of the theatre people, we, a people full of incertitude, of theories, of adventurous invented techniques, to make real what is born to be the mirror of reality.
This production, in the form of a rhapsody, uses subtle, cunning theatrical techniques to reveal itself through oneiric images. Devices like painted horizons on enormous gauzes, like angels suspended by the waist with ropes and sheaves, like the many questions, considerations and arguments that actors and dancers have behind the wings. This production is not a single tale because it is “many tales” at the same time.
Ana accompanies this journey, suspended between the reality of the playing and the magic of illusion. She is lead by the other performers into a pathway, into the reproduction of a small labyrinth where “nothing” tells us something precise and “everything” hints of something that can be dreamed.
Visitatio is dedicated to all those who have not ceased to search in their dreams, in the night skies, in the ancient tales, in the long waiting. To all those who have not ceased to search in the longing for a feast, for the sense of this strange game in which we, the tragic comedians, are forced to play.
Daniele Finzi Pasca
text and direction by Daniele Finzi Pasca
assistant to the direction: Marco Finzi Pasca
Katia Gagné, Hugo Gargiulo, Ana Heredia,
Dolores Heredia, Yves Simard, Lin Snelling, Antonio Vergamini
original music by Maria Bonzanigo
accordion: Marco Fratantonio
cello: Claude Hauri
clarinet: Luca Medici
double bass: Anton Uhle
percussions: Nicola Marinoni
trombone: Rudy Migliardi
trumpet: Patrick Berger
violin: Chun He Gao
voice: Maria Bonzanigo and Scilla Scarselli
scenery and props by Daniele Finzi Pasca, Guillaume de Fontenay, Michèle Laliberté
lighting by Jan Komarek
costumes by Dado
flying system, concept and realisation, by Alexandre Lemay
music recording: Matteo Mazza
mixing: Alexandre Burton
collaboration to the creation:
Maria Bonzanigo, Marco Finzi Pasca, Danièle de Fontenay,
Katia Gagné, Hugo Gargiulo, Ana Heredia, Dolores Heredia,
Yves Simard, Lin Snelling, Antonio Vergamini
painted backcloth: Dominique Gaucher
coating of wooden props: Julie Leblanc
assistant to the wardrobe mistress/master: Véronique Denis
harness’ concept: André Fortin
production direction during creation: Martin Boisjoly
technical direction during creation: Alexandre Lemay
Pro Helvetia, Conseil des Arts et des Lettres du Québec, Commissione Culturale del Cantone Ticino,
Conseils des Arts du Canada, Città di Lugano, Conseil des arts de la communauté urbaine de Montréal,
contributing members of the Association Teatro Sunil
The audience basked in the glow of Daniele Finzi Pasca’s sublimely humanist and enormously inventive Visitatio.
The textual wizardry of an Italo Calvino meets the visual imagery of a Federico Fellini.
A brilliant and subtle reflection on artifice, sentiment and truth.
The is not Finzi Pasca’s first visit to Montréal and one hopes it won’t be his last. I am hard pressed to remember a more thoroughly happy evening of intelligent theatre.
Alan Conter, The Globe and Mail – Toronto, Canada – November 2000
Chances are you’ll succumb to the innocent charms of Daniele Finzi Pasca’s Visitatio.
A mix of Pirandello, German expressionism & French impressionism, with a dash of Mary Poppins and Peter Pan.
The seven performers work together like family. The radiant Ana shatters stereotypes as she carries out her angelic role with steady confidence, stealing many a scene.
Visitatio comes and goes, like a moth darting at the light. Its touching images remain.
P. Donnelly, The Gazette – November 2000 – Montréal, Canada
An evening out of the ordinary. Theatre that’s chaotic, in the good sense of the word. All at once lively, frenzied, unpredictable, intriguing, mysterious, weird and shimmering on stage.
It sparkles, it’s moving, it disturbs. A fascinating theatrical experience that touched people deeply.
Go and see Visitatio!
M.C. Blais, CBC/SRC – Montréal, Canada – November 2000
An angel is passing at Usine C…
This Swiss-Italian takes to magic quite naturally. It flows through his veins.
The therapeutic wizardry of Finzi Pasca is back.
There’s this persistent feeling that gentleness, calm, tender humour and poetry might well be possible. Particularly when tragedy’s so close at hand. Theatre, therefore, that offers hope.
J. Couelle, La Presse – November 2000 – Montréal, Canada
Visitatio, or the necessary fusion of the arts in the pursuit of truth, beauty and the absolute.
We are often seized with laughter, sometimes tears, and one is carried along by Finzi Pasca’s clear and dynamic skill.
Visitatio is as much an entertaining show of intelligence as it is a constantly evolving entity. But this evening, I really had the impression of having assisted in the birth of a great poetic and theatrical work. This is rare.
P. Thibeault, Ici – November 2000 – Montréal, Canada
It’s become a habit (Teatro Sunil’s visit) that one will no longer be able to pass up.
A very effective and magical universe of extraordinary images. A magnificent show.
J. Despins, CBC/SRC – November 2000 – Montréal, Canada