Tindaro Granata draws a “humanographic” map of Ticino inspired by Pasolini’s masterpiece Love Encounters.
Certi Comizi is a study in which Tindaro Granata draws a “humanographic” map of Ticino, taking inspiration from the interview methods used by Pier Paolo Pasolini in his masterpiece Love Encounters, an extraordinary investigatory documentary Pasolini filmed in 1965. Microphone in hand, Pasolini went out into the Italian squares to report on how sexual morality had changed in Italy.
Pier Paolo Pasolini
territorial witnesses on Ticino region
Mosè Bächtold, Martina Borghesi, Elisa Butti, Lorenzo Fusco, Luca Huser, Lorenzo Quadranti
Artemisia Liveriero, Emma Soldin
actors and actresses
Anna Manella, Jonathan Lazzini, Monica Buzuiano, Leonardo Castellani, Claudia Grassi, Simone Tudda, Antonio Perretta, Gabriele Brunelli, Anna Godina
LAC Lugano Arte e Cultura
Certi Comizi is a the study of a “humanographic map” of the region of Ticino which I will do with all the people I meet along the route Lingua Madre indicated to me, using a road map as my reference guide and the method devised by Pier Paolo Pasolini in his masterpiece Love Encounters. With Monica Ceccardi we formed a study group of six young and very young Ticinese, aged between 16 and 20 with whom we will be consulting and studying the main themes, taboos and collective thoughts of the inhabitants of Ticino.
We are well aware that the world has changed since Pasolini took to the streets and interviewed people; but have only our “customs and habits” altered or have we ourselves changed? Certainly our level of knowledge has risen which has bereft us of that genuineness in approaching relationships with things, plants, animals and ourselves, with others and with God. We ourselves are the denizens of this new garden of Eden: serpents that eat the apple; we believe that we are the absolute protagonists of this world and we tell our stories through a representation of our “I”. Certi Comizi will be looking at the phenomenon of the loss of innocence in personal stories, at how human beings experience their present and their relationships with others, at the inability to tell the story of a community, of a people, of not being able to pass on experience and bequeath roots to those who come after us.
Experience is a collection of mistakes that helps our children live on infinitely in the future memory they will have of us. With the help of several students from the Scuola del Piccolo di Milano, we will be looking at the new world of social media that most people are using, comparing the video camera on the smartphone with the relationship people had with the film camera Pasolini used in Love Encounters. We will try to use the stories a person tells about him/herself on social media to get a picture of a society that is, perhaps, unable to recover the meaning behind its own narrative.
From Tindari in Sicily, at the age of twenty Granata embarked on the navy ship Spica as an artillery mechanic; two years later, driven by the desire to become an actor, he resigned and moved to Rome where he worked as a sales clerk in several shoe shops and as a waiter in trattorias and restaurants. Without formal academic artistic training he took his first steps in the theatre thanks to Massimo Ranieri. In 2006 he began a successful relationship with Carmelo Rifici who directed him in numerous performances including Ifigenia, liberata and Macbeth, le cose nascoste. Serena Sinigaglia directed him in Il libro del buio and in 32”.16 Trentadue e sedici secondi; he worked with Andrea Chiodi in numerous theatre projects including La Locandiera and The Taming of the Shrew; Leonardo Lidi directed him in The Glass Menagerie; as an author he made his debut in 2011 with Antropolaroid, a performance about the story of his family which was staged making an original use of the ancient form of the Sicilian folk tale. Granata is also author and interpreter of Invidiatemi come io ho invidiato voi, a story about a case of pedophilia based on a real news story. He wrote, directed and interpreted Geppetto e Geppetto, a work in which he deals with the question of step-child adoption and which won him the Premio Ubu for best new play (2016). He wrote Farsi Silenzio, a secular pilgrimage in search of the sacred in the modern world and Dedalo e Icaro, the story of a father seeking to come to terms with his child’s autism. Granata is Artistic Director of Situazione Drammatica, a platform to disseminate contemporary dramaturgy and also of Proxima Res, an association for theatre production.