The Double Of A Look That Tries To Better See Itself
The difference is there, alterity is built. This is the first postulate on which the science of enhanced, individualized expressiveness in art is based.
The approach of my creation starts from the premise that the optimal form of constituting an individuality with exponential function, which is at the intersection between symmetry and surrealism, could be satisfied only by recapitulating an experience worthy of a story, under the title “Fictitious Reality”. It is about remembering who I really am so that I can continue to create my own life experience at a higher level of awareness of the contiguity between what is evoked and what is perceived.
After all, this is also a literary performance.
This can only happen when the form and the visual image appear completely changed in a timeless space of being “everywhere and nowhere”, as an uninterrupted adventure in the private space of an artist who reveals himself as a glance thrown over the course of history and which claims to reach the level of omniscience through a long life experience.
Of course, such an artist would not want to leave an appearance that would change the whole course of his life, but would become a character with divine powers, full of virtue, as is Prospero (from Shakespeare’s play), having the power to lead with a way of divinely experiencing the plot of a series of unforeseen events. He uses spells, schemes and manipulations that all work in tandem as part of his grand plan to achieve “Single Causality” status.
Can you achieve greater self-acceptance by fulfilling an exceptional role expressed in a double sense, as a very important part of the process of creating a hero who tries the impossible without the need for presentation?
From the point of view of the change of form and image that characterizes me in the case of playing a character with a decisive attitude, a demiurgic court with a human appearance, so in a progressive rather than static sense, I managed to define myself as a set of behaviors, voices, costumes, acrobatics, feelings in which the natural often meets the supernatural, in various stage movements, appearances and disappearances in smoke and flames.
All this, defined as such, has often been transfigured by the personality of the Creator, being arranged in an articulated set of images giving connotations on subsequent interpretations.
Obviously, they all have the role of complex decoration in the presence of a famous creator of masks and costumes, to glorify an idea, an event, a legendary hero, keeping his distance throughout the show through a structural invisibility, a double character, neither visible nor invisible, or at the same time visible and invisible.
Let us not forget that a magician with the valence of a physicist categorizes reality by determining the set of all molecules that can factually react with it.
Who can establish an order here, if not the brilliant artist who defined his mission and vocation – that of awakening in himself and those around him the mystical notion of a hero touched by titanic status and hubris (the classical, wide-spread image of a superhuman-like hero), yet having the power to recognize his true identity hidden behind masks, behind his dual personality. The climax is reached when the magician begins to confuse his disguise with his true identity.
Can you project your self-image into a state of remarkable stability, even when you begin to confuse your disguise with your true identity?
In the movie script I wrote years ago, I was saying that a magician is being trained under the pressure of events. He transforms, loses his true being, dissolves his identity, eliminates his own weaknesses, breaks any barriers – and then disappears completely, suddenly appearing in a new hypostasis – followed in turn by other hypostases. First, he’s a chemist, then a healer, sometimes a sage, sometimes a physicist. Always involved in a process of actions and reactions, of rejections and attractions, of eliminations and coordination, in a world of magical symbols and filters created by himself. From all the elements thus associated, a new complex is formed, a completely different human type.
Whether it is my recognition in a double of mine, if we take into account a special force, Visergeranth(my presence in the “image of the other”), due to the experience of communication through false indexes, facial expressions, posture and gestures precisely coded, we have in front the process of recognizing a finely differentiating otherness on which the symbolic dimension of separate, distinct identity is based. Even if everything happens “in the mist”, the magician accepts his divinity, claiming his consciousness as a means of artistic expression, thus gaining his position as a “miracle man”.
I would not have expected the unfolding of the frames at the end, beyond which the aesthetic cannot go beyond the real, from the interweaving of some plans that I thought were already gone, to the reappearance of some characters that I felt were more important. But this is only true if I take into account a decisive power which accentuates the dynamism of the image, without it knowing the laws of motion and remodeling, as actus imperfecti.
A closer look at the image that makes you stand out from the crowd reveals the gap between the visual interpretation of an entertainment experience, and the reality that is gradually revealed through its chiaroscuro effects.
The Double Of A Look That Tries To Better See Itself is so familiar to the artist who creates two images in one, with the precise purpose of giving a style note to your performances. The difference is there, alterity is built. This is the first postulate on which the science of enhanced, individualized expressiveness in art is based.
