Chroma Keys

 

by Enrico Casagrande, Daniela Nicolò e Silvia Calderoni
with Silvia Calderoni
video design Paride Donatelli and Simona Gallo
technical direction Simona Gallo
Creative residency L’arboreto – Teatro Dimora di Mondaino
thanks to Matteo Marelli for the collaboration
production Elisa Bartolucci
logistics Shaila Chenet
communication Marta Lovato and Mariagloria Posani
graphic project and press office comunicattive.it
international distribution Lisa Gilardino
production Motus with Santarcangelo Festival

with the support of MiBAC, Regione Emilia Romagna

“The end of the world arrives as I see it arriving in real life – silently and slowly”
(Bela Tarr)

Chroma Keys is an incursion inside cinema, inside the wonder of fiction and of its old stereoscopic “tricks”. The possibility of the sudden appearance and disappearance of an “alien” body in the fictitious scene of a film, which is at the basis of the artifices of a big part of early cinema: it is a shameless sabotage of the frame. We worked with the green screen on Panorama, our recent production realized with the actors of La MaMa New York: this is also rooted in cinema, however with the aim of questioning/boycotting the, often dispiriting, dynamics of the auditions… With Chroma Keys instead we use the same simple green/endless photographic backdrop to accelerate the liberatory and visionary power that this ancient cinematographic technique implies, unveiling its mechanism in a performantic way and… with a bit of irony. The cut-up of films inside which Silvia Calderoni intervenes is inaugurated with a fragment from Satantango by Bela Tarr, which is a key to reading the whole operation: the well-known scene of the two walkers in the wind takes place in an apocalyptic climate, with an imminent-disaster-like light…and the crazed journey continues through a selection of film splinters which somehow evoke/treat/reflect the disappearance, the sense of the going or of the leaving, of abandonment, but also of discovery. The futuristic and dystopic atmosphere remains ambiguous and suspended: is a “world to come” assumed, or rather, “a world to come without world”, with the looming of an event which “puts an end to all events” as in Melancholia by Lars Von Trier? The completion of the script is up to the audience.

Photos