LITURGIA POSTURALE (2026)
realised as research outcome of I year PhD research - XL Cycle (2024-27) “Theatre of Reality: Performing Arts and New Media”
Accademia Nazionale d’Arte Drammatica Silvio d’Amico, Rome, Italy
fellowship co-funded by
Teatro Stabile di Torino - National Theatre
Accademia Albertina Belle Arti di Torino, Italy
Phd candidate (2024-27) - Maria Luigia Gioffrè
supervisor - Salvatore Bitonti
coordinator - Francesco Manetti
tutor - Leonardo Lidi
shows
Ex-Mattatoio PalaExpo, La Pelanda (Rome, IT, Jan 2026)
credits
conception and performance set / Maria Luigia Gioffrè
with performers (in a.o.) /
Grazia Capraro, Giorgia Fagotto Fiorentini, Chiara Serafini
technicians/ Vincenzo Perugini (sound)
stage director and light technician/ Alberto Rossi/
photo credits Manuela Giusto
Investigating the phenomenon of scrolling as a somatic posture of attention and as aesthetical attitude of the scenic action, the performance enacts and devises three algorithmic propositions –one for each performer’s Tik Tok account – consisting of contents extracted from the “For You” section of the social network platform Tik Tok. A succession of fixed movement-units, operating through excess without a center, put in dialogue with the musical repertoire accompanying the performance, drawn from the tradition of the baroque suite, a musical form conceived for code-dances or conceptual-dance.
In both the tradition of the baroque suite and the Tik Tok platform, contents are in fact composed through such a succession of movement-units, in an attempt to organize an experience that unfolds from and through processes of excess and accumulation of fragments, even when dissonant with one another.
Cat reels, war reels, political speeches, racialized advertisements, soothing loops, skincare reels, vernacular dances, professional dances, choreographies produced by artificial intelligences to be imitated, and so on.
All of this material is delivered to the warmth of bodies on stage and to a three-dimensional space, to an embodied matter, in the thesis and the belief of a still possible rituality – that of theatre – even when using some of the less corporeal vocabularies and repertoires ever known, those of social media and AI, which inhabit the multimodal realities that all us do experience today.
