Limes e sublime. Il passo di Warburg e il teatro delle immagini

• Main Author: Fabio Tolledi
• Format: Article
• Language: English
• Published: Kaiak Edizioni 2017-12-01
• Series: Kaiak
• Online Access: http://www.kaiak-pj.it/images/PDF/rivista/kaiak-4-sublimazione/Tolledi.pdf

There is a thin line that marks, defines, tries to mark the space in which the images happen. The women and men of theater for more than a century are stirring in the awareness that the space of the theater, the theatrical place, is a border, a fold, a border territory between the limes and the sublime. The work of the actor lives in the changing field of transformation. Transition from one state to another in which the body experiences the self and, at the same time, becomes an image. In modern times theater has often been used as a conceptual field, moving away from the profound allegorical material that constitutes it. The mask and the double, the actor and the social action, the illusion, the fiction, the character constituted a tool to describe social and cognitive dynamics of the most disparate spheres. Aby Warburg has taken on a dynamic point of view that leads to an extraordinary closeness to theatrical functioning or, rather, to a cognitive process of transformation of the body that is one and multiple at the same time. The limes of the social field and the sublime of the aesthetic experience proceed by fragments, shattering and recomposing - rubble after rubble, material after material - the image of oneself and the image of the world. The Atlas Mnemosyne of Warburg, an extraordinary and endless montage, has marked in an undisputable way, the practice of theater montage that characterizes the scene of the last fifty years. Limes and sublime rediscover another, unrestrainable, path of knowledge and disturbance. The theater of images remains suspended in the flesh of the days, in the infinite multiplicity of intertwining beings.