As you read these words, you are missing something. What is it? Who knows.
Missing Outs is rooted in missed opportunities, in all that we would have liked, could have, should have said or done: a look at FOMO, the Fear Of Missing Out, or that constant fear of feeling cut off, a social anxiety known and recognised by the new generations – millennials and beyond.
Through the theatrical device of dubbing, at times vocal, at other times choreographic, Missing Outs wants to rediscover a relationship between us and our projection, where those missed opportunities gather and where we go to look, in search of a different life, “[…] a parallel life, which we never realise, which we live in our minds, the life we desire and of which we fantasize: the risks we have never taken, the opportunities we have missed or which have not been granted to us”.
Missing Outs draws on the theses of British psychoanalyst Adam Phillips in his essay In Praise of the Unlived Life. Adam Phillips draws an interesting perspective on the typically Western neurosis of constantly wishing for a different life, a neurosis that leads to constantly living in the gap between who we would like to be one day, or who we failed to be in the past, and who we are in our present. In a society of growing individualism where the ‘specialness’ of the self is an inflated and imperative axiom, we grow up cultivating an obsession with our uniqueness and its consequent success. Soon, however, we realise that each of us is an accidental element and that anonymity is something to be reckoned with. According to Phillips, the capitalist model is generative of this frustration, establishing that vicious circle within itself whereby we are increasingly induced to ‘know ourselves’ through the idea of possession: ‘to know what we want to have’.
CREDITS
Missing Outs is a production by Danae Festival, BASE Milano and Fattoria Vittadini With the support of Lavanderia a Vapore, winner of the AIR residency programme. Selected by KRAKK, the artistic residency programme of Santarcangelo Festival.
Elisabetta Consonni choreographs everything, human and inhuman beings, movable and immovable objects, maps, interstices and spatial holiday groups. She weaves networks of relationships, subtle and strong, like sugar glass.
Graduated in Communication with a final thesis on the social construction of the body in dance and graduated from The Place-London, she then deepened her research in performing art living in Holland (2004-2009) and Poland (2013-2015). Her works aim to expand the practice of choreography by seeking performative devices to incorporate social dynamics and themes.
Her activism in the social and civic sphere, takes the artistic form of a research process (documented in ergonomicaproject.wordpress.com) that since 2013 investigates the use and social meaning of public space and the declination of choreographic skills in community practices. His works have been produced by Teatro Grande di Brescia (IT), Centro Nazionale della Danza Virgilio Sieni (IT), Ariella Vidach AiEP (IT), Konfrontacje Teatralne (PL), Biennale Danza Venice (IT), Orlando Festival (IT), Pergine Festival (IT), Lavanderia a Vapore (IT) e presentati presso International Dance Theater Festival Lublin (PL), Biennale Danza di Venezia (IT), Cantieri Culturali Isolotto (IT), Zona K (IT), Indisciplinarte Terni (IT), Fog Festival (IT), In/Visible Cities (IT), Danae Festival (IT), Le Alleanze dei Corpi (IT), Farout (IT), Festival Periferico (IT).