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The same dramaturgical set-up as the previous works, attesting the "multi-mediality" of this new genre which Carlo Ansaloni has defined as " Art - Science and Theatre", is seen once again in this additional work conceived by Ezio Cuoghi and his collaborators, which is centred on the perception of the sensible world, with its scientific, genetic and neurological implications. The topics covered deal with the "Noosphera", our more or less immediate future, the lapse of time where the most exciting scientific fantasies collide with our deepest existential anxiety.
"The Wing of the Senses" directs our attention towards those boundary areas and areas of exchange, those spaces which can no longer be defined in words but belong to the fluidity of experience.
The subtitle of this third intermedial event is "Stati di Mutazione Progressiva" (States of Progressive Mutation), precisely because mutation is the ‘module' which encloses the meaning which can no longer be defined. The states of mutation are constant throughout the entire performance. Cuoghi reminds us that the arguments regarding the perceptive mutation of contemporary man most probably advance in a context which is strangely shared with our interest in genetics and the manipulative capacity of genetic engineering deriving from the use of new technologies ( at the time of the staging of "The Flexible Elix")
almost as if it follows the assumption that a mutation of a human perceptive system anticipates a more systematic mutation of the whole organism, both singular and collective. We entertain the supposition (more daring and freer than the aesthetic approach) that the transformation of communication systems thanks to new communicative technology might well be one of the possible and fitting foundations on which a real alteration of the species Homo Sapiens Sapiens could be based.
Abstract
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