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Memory(ies) at work
Exploring artistic creation

Customized guidance by Sarah Di Bella - performance historian and dramaturg.
Caught up in constant change and sometimes unfathomable latencies, the life of forms is indeed the hunting ground of every individual who engages in writing and performance. Much of writing seems to be born of the need to replay the complexity of the meaning of an image, a word or a semantic relationship. What follows is that it is invaluable to measure the power of narratives aimed at or envisaged by a direct, sensitive, temporally concise and specifically oriented experience of their semantic components. By guiding the visual experience through exchanges that help to extract its essence, the dramaturg invites us to operate on the ideological and emotional filter specific to each individual's gaze. This time for "manipulating memory" is a detonator both complex and efficient at all stages of writing, whether textual or performative.

dramaturg1
Texte 2 Image intro 2.jpg

photo © Daniele Vita

In the course of the proposed work, functional and engaged memory, operating within a social horizon, is methodically questioned by affective memory, a force springing from unfathomable latencies; and vice versa. Indeed, the tension between mnemonic function and memorial force acts as a kind of law at the heart of every gesture of composition and writing, transcending the opposition between these two vocations of memory through an ever singular poetization.​
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  • Engaging memory - The hatching of the project

  • Memory equals acting force into the present - Framing artistic and critical research

  • Poetic memory at work - From image to the embodiment

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Conditions and rates :

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Writing needs to be defined: 8 sessions of 3 hours Fixed fee of 900 euros (schedule to be drawn up)
Project idea to be developed: 4 sessions of 3 hours Fixed fee of 600 euros (schedule to be drawn up)
Support during the creation phase: fee to be discussed

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If you have any questions about how this works, the conditions and the timetable, please contact sarahdibella@extrapole.eu 

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The German term dramaturg allows to attach our method more immediately to a branch of the history of dramaturgy that has been defined as the "dramaturgy of experience", where the dramaturg participates in the "system of presences" by developing micro-dramaturgies of situations and of action, thereby defining and fertilizing the terrain of the encounter between theater and society. See Claudio Meldolesi and Renata Molinari, Il lavoro del dramaturg, Ubulibri, 2007.

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