We were the first to see Tilda Swinton's performance - Wishevoke

We were the first to see Tilda Swinton’s performance

The same room as you enter Tilda Swindon And on the same level, without even the stage separating you from her human presence, when you see the veins on her arms, her bare legs under the robe she wears, like a doctor about to perform an operation, you can’t help but feel her energy: what made him David Bowie to seek her as his only partner when he felt like he was dying on his last record, who transformed her into Archangel Gabriel in his “Constantine.” Francis Lawrencewho made her a white witch in his Chronicles of Narmia. Andrew Adamson or who made her the most charming zombie in cinema history with “The Dead Don’t Die”. Jim Jarmusch. Her mere presence was also enough to make Fassbender fear her more than death in his latest film, Killer David Fincheris currently running on Netflix receivers.


Coming soon, in her basement Home of the Onassis Foundation, Tilda Swinton will try to give us, completely alive, albeit with her ghostly presence that transcends the concept of human, through the silence and the music that she carries with her as a personal dictation and listens from a speaker in her pocket, the ritual to show the relationship he has developed with his suits Pasolini and his films. Up close, she is even more charming and commanding than one could imagine, and can fill the room or transform us into mystics with a change of expression. And it all happens magically because it makes us forget that outside is the reality, the truth of Syngrou Avenue. At the center is Tilda and the source of inspiration and invisible protagonist is the Italian creator and director Pier Paolo Pasolini, who also gave birth to the idea of ​​this performance entitled “Embodying Pasolini”, which premieres tomorrow and will last until December 16th on the roof -Onassis of the Foundation.






Highlights from Tilda Swindon’s performance on the roof of the Onassis Foundation

Anyone who has seen the opera knows that hand movements in dealing with grief and death, following the logic of ancient tragedy, mean much more than the arias performed by the great lyric singers: Tilda’s hand moves Swindon here while he chats about the costumes , which he wore designed for Pasolini’s films, o Danilo Donati In a performance where there are no words, they replace entire dialogues. Sometimes he stretches out his hands in a sign of sorrow or exultation, sometimes he crosses them, as do those who wish to announce an imposition of an act. It begins with the “Gospel of Matthew”, Pier Paolo’s most religious work, which speaks of barbaric liturgical practice and the direct relationship to the divine. Here, the show’s costumes are treated with the same hubris that characterized the film itself: they’re ostentatiously lifted without Tilda Swinton trying on or wearing them, showing us in all their saintly glory. In fact, he seems to talk to them and treat them like living characters, proving in practice that objects are not dead when you stop treating them as such: they acquire a soul, they become part of your world.


That’s why the costumes here are not just clothes or objects. Other times they can stand alone, like in “120 Days of Sodom” – this shocking wedding dress from one of the forced weddings in the film, without anyone laughing at the impertinence and violence that stands alone as a backdrop like the wedding dress in ” Bloody Wedding” by Lorca. In Tilda’s hands, each costume takes on a life of its own: we not only see the costumes again, but also observe their mythical imprints, their frightening beauty, the details of the colors that refer to Renaissance paintings, works by Domenikos Theotokopoulos and sacred symbols (the imperial red and lapis lazuli); For example, the scene in which the priest stands in front of the couple and this bride in this pagan clothing, which now takes on a different meaning after Tilda’s magical touch, is unforgettable. In the end, she herself puts the costumes on the floor with which they establish a direct relationship and covers them, like the deceased saying goodbye and knowing that only she is able to breathe life back into them. Everything is a question of ritual, sight and gesture. And she turns out to be the ideal shaman.


We saw, among other things, the incredible handmade costume decorated with feathers and shells that Silvana Mangano wore as Jocasta in Pasolini’s Oedipus the Tyrant, as well as all the headdresses of these strange rituals. The performance ends with the costumes from “Vultures and Birds” – a fantasy comedy, as the Italian director himself described it, with Francis of Assisi as the hero who wanted to convert all the birds to Christianity, which here gives the right to do so more easily become . He also dresses up as best he can and becomes part of the live game. Tilda Swinton had a partner in this demanding undertaking Olivier Saillardthe fashion historian with whom they had collaborated on another project at the Paris Fashion Museum in 2012, and now decide to dedicate themselves to this uniquely inspired and extremely ambitious project, which we were able to see in person the day before its official premiere.

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