In collaboration with Fondazione Piemonte dal Vivo
Party Girl wants to investigate the concept of the body as an object of desire. What makes a body sensual, what triggers desire in the human being. According to Georges Bataille, the figure that par excellence embodies the essence of desire is the prostitute. An almost archetypal figure that represents death under the mask of life and therefore has the very meaning of eroticism since the latter is by definition the place where death and life merge. Prostitution makes an offered body a ‘dead object’, or rather the dead end of the unleashing of passions. The body becomes a pure object of desire and it is precisely its state of passivity that allows the observer to associate it with a figure that corresponds to it. The object of desire must exist for the desire of the other. Party Girl emphasizes precisely this process of objectification of the body, a process that turns the human body almost ‘inorganic’.
Direction and choreography: Francesco Marilungo
With: Alice Raffaelli, Barbara Novati, Roberta Racis
Assistant director: Francesco Napoli
Costumes: Efisio Marras
Video: Gianmaria Borzillo, Francesco Marilungo
Management and promotion: Domenico Garofalo
Production: Compagnia Körper in co-production with Danae Festival, Festival MilanOltre
With the support of: Gender Bender Festival, Did Studio/Nao Performing Festival, Kilowatt
Francesco Marilungo was born in Ancona in 1982. After graduating in thermomechanical engineering and a period of research in aerospace aerodynamics, he turned his interest to the performing arts, attending the theatre-dance atelier of the Paolo Grassi Academy in Milan. While working as a performer for several Italian companies, he began a personal choreographic career in search of a code that relates performance art and contemporary dance. Driven by the precision of RTC (Real Time Composition), Francesco Marilungo concentrates his research on the creation of atmospheres resulting from the juxtaposition of images structured on several levels of representation. In his works he uses the body to investigate the archetypes of our culture with particular attention to the perturbing, to all that is connected to forbidden desire. The work reaches an original development in the rehearsal room only after a careful research that crosses and combines several fields: after investigating a topic through writing, reading, discussion and audiovisual research, he translates the matured imaginary through the body. In the studio he subjects himself and the artists working with him to sound, silence and dissonance, sometimes even overloading the mind and body with stimuli, to see how they react and thus to obtain a kinetic vision of the subject. As a direct consequence of his scientific training, his works have a Cartesian mathematical structure. Each element of the stage is considered as a complex entity consisting of a myriad of equations that make up the entire performance system.