I sogni ci aiutano a cambiare la realtà.
Well, as much as this trip was about some work, it waS also about these things we usually call ‘pleasure’. So, in the meantime I went to the theatre, a play based on Luchino Visconti’s Rocco e i suoi fratelli. In my opinion the performance was not really great – btw, a problem I have more and more, be it in the theatre, the opera or in galleries: some ‘forced innovation’, some spasmodic efforts to be innovative, too often ending in just being ‘artificially loud’. Still, the play itself ended by rejecting this in some way …, being a kind of dramatic as well, basically suggesting:
Don’t have dreams, life is about ‘just getting along’, things being ‘OK’, not anything more, not anything special … having dreams is about moving towards failure. So, just accept, without dreams – Then things are ‘OK’.
Never heard the ‘OK-option’ in such a pejorative, negative, rejecting way. – Why I said it had been a confirmation of rejecting the spasmodic efforts to be innovative? Simply because any change, any innovation has to be sound, radical – as such it is in need of being genuine. In arts as much as in ‘real life’.
Mustang confirmed this – in such a frightening way confronting us with the difficulty we overlook too often. A simple plot:
And still, what we overlook is our own limitation, maintaining traditions, claiming the rights of self-determination, while forgetting that this can easily (surely not necessarily) result in oppression, localism and clientelism etc. Can we find a way that is really about moving forward and respecting the traditions? Or is it about two distinct, incompatible array, standing side by side?
You should sleep nine hours without dreams. Then you have the day for dreams. (Herbert Marcuse)
it seems like the wide spaces as we find them in so many paintings of Gauguin and the subdivision, the we know from the later paintings of van Gogh: two impressionists, two friends, and one misunderstanding ….
Apparently two sides, poles without connection. Standing against the alternative of a permanent struggle. The dreams we have – and should have beyond the brothers’ OK-option have to look for a sound foundation in the fact that
It is never possible to return to the point of departure – it does not exist anymore (Shumona Sinha).
And with this we have to acknowledge the most difficult point: we do not exist anymore, we also changed, and even if we think, we did not change: ultimately we did.
COMMEDIA DELLA VITA OR PÁNTA RÊI'S FIRM GROUND 