by Marco D'Agostin

sound project Marco D'Agostin and LSKA

with Marco D'Agostin, Chiara Bersani, Sara Bonaventura, Nicola Borghesi, Tabea Martin, Damien Modolo, Lisa Ferlazzo Natoli, Daniele Villa, Lucia Sauro, Stefano Roveda, Teodora Grano, Caterina Basso and Pablo Tapia Leyton.

Residency from 13 to 28 July 2024

Collateral event: 22 July 2024 at 6.00 pm TEATRO DEI FABBRI

Intervention out of the choir with Livia Amabilino and Mario Bobbio.

Return 26 July 2024 at 6.00 pm

In 1979, the American geologist Walter Álvarez and his Italian colleague Isabella Premoli Silva traveled through the Bottaccione gorge, 2 km north of Gubbio, whose rocky walls present a perfect stratigraphic sequence, and noticed an oddity: in the era corresponding to the passage between the Mesozoic and Cenozoic there is a thin line of clay with a very high concentration of iridium, a metal present mainly in cosmic dust. Comparison with similar clay lines, found at the same height in many other places, allows us to formulate a hypothesis: 65 million years ago an asteroid impacted our planet, raising a gigantic cloud of dust which spread around the planet. globe and then slowly settled, lining the Earth's mantle with a thin blanket and leaving only 5% of existing species alive. In 1983, in New York, Samantha Pile, ex-wife of the geologist Álvarez and theater playwright, debuted with her first musical, AFTER THE END, which tells what happens after the sudden end of a love story. It's an absolute flop. Samantha consoles herself by reading a magazine article which states that only 5% of relationships survive the years. In the collective imagination, nothing survives the impact of an asteroid, regardless of the volume of the rocky mass. Yet life - understood as the cosmic force that holds the matter of the Earth in a carnal intimacy - continues to find new forms of being, in an incessant process of metamorphosis.

In ASTEROIDE, a solo performer on stage tries to talk about all this to the audience. A threat, however, looms over his body: a mysterious force breaks in and tries to distract him from the objective, tugging his voice and gestures and throwing them forcefully towards Broadway. A musical gathers like a cloud over the performer's head and takes possession of his movements, his intonations and finally his words, subjecting him to the power of an irresistible entertaining number. The performer desperately tries to stick to the content of the speech, but is progressively devoured by the absurd need to dance and sing, as always happens in musicals, in which the song bursts into reality for no apparent reason.