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This paper analyses the relationship between food system dynamics with consumer behaviors, in population within a protected mountain area in Italy. In order to obtain socioeconomic and nutritional data, a combination of qualitative and quantitative research was employed to group farmers, local authorities, and inhabitants. Our research highlighted the close relationship between local food productive sector with consumption habits of local communities. The experience of the Majella National Park can be taken as an example of promoting environmentally friendly agriculture that enhances food quality, increases resource management and preserves local cultural heritage.

The notion of “building blocks”, here, has a double meaning. On the one hand, it is conceived in epistemic, archaeological, and temporal terms; on the other hand, in architectural and spatial ones. As an adjective, it indicates something set apart, separated from a group or a set of elements, therefore referring to the time of solitude and exclusion from social engagement, in contrast with the time of collectivity. As a noun, it relates to a building or a group of buildings surrounded by streets, conveying the idea of an inscribed space. Dancing as blocks alludes to a particular praxis of engagement with alterity through choreography, both in temporal terms (isolation and singularity in relation to a group) and in spatial terms (the relationship at the margins with the remote). It is not just about a strategy of composition, but a hermeneutic paradigm, a method to read the action. Moreover, affect intervenes in this procedure as a dynamic of desire that, within an archipelago-system, determines meaning, relationships, and generates intensity. The essay aims to draw out how the building blocks choreographic strategy can shape and occupy the performative space. This strategy seems to affirm itself as cultural form of the archipelago in some recent contemporary performances: staging the campo in Agorà Tutti by Virgilio Sieni (2013); Alessandro Sciarroni’s work on juggling UNTITLED_I will be there when you die (2013); the deconstruction of the colonialist structure through geographic and/or cartographic actions by Michele Di Stefano in Il giro del mondo in 80 giorni for MK (2011), and in Upper East Side for Aterballetto (2014).

The essay goes over some quarrels about the alliance between dance and music, along the XXth century, beginning from the political transformation of the spatial dimension of listening, from the notion of montage in dance as an independent answer from the structure of music, and from the use of notation (score) as an active part of the creative process. At the heart of it, it seems to predominate what Nabokov called the musical zoo of Djagilev’s Ballets Russes, in which the idea of the past is a supplement of history; it is then continually outstanding nostalgia in front of the ruins of time, as likewise in the experimentation of Massine’s symphonic ballet and in the imperial air of Balanchine’s symphonic choreographies. In his diaries, Nižinskij had already sanctioned the overcoming of the eyes in favour of an autonomy of the feelings, which is capable of throwing into crisis the unity between dance and music, whereas in Laban’s theory this tension seems to turn out to be a renouncement. It seems therefore to prefigure a final paradox, which is able to violate the historical alliance, between dance and music, whilst respecting it: it is necessary to know how to create an internal depth of listening, in order to be able to dance the music without the repetition of a mere external listening.

Il saggio, nel solco degli studî su attivismo politico e performance, affronta la modalità democratica con cui Carlo Goldoni riscatta la vita soffocata dei subalterni attraverso una lingua e una invenzione teatrale capaci di smascherare ciò che nel passato è stato nascosto e silenziato: il volto. A partire dall’intuizione di Antonio Gramsci su Goldoni democratico prima della democrazia, lo studio raccoglie un ampio spettro della teoresi scenica intorno ai valori culturali all’opera nella scoperta del volto dell’interprete, e contro l’uso della maschera, da cui deriva l’esperienza intuitiva di un’idea di democrazia futura come affrancamento culturale, e come osservazione e riflessione della differenza nell’incontro mimetico con l’altro. Il tragitto evoca e comprende scritti di Luigi Riccoboni, Jean-Georges Noverre, La Clairon, Pietro Napoli Signorelli, Francesco Righetti, Giuseppe Compagnoni e Giovanni Angelo Canova. Tale scoperta della luce del volto come incontro dell’altro in Goldoni, che incarna il primato della vita come riconoscimento e partecipazione di una Europa illuminata e dei diritti, si disperde di fronte al dissidio tutto moderno fra le Sovranità. Non ci sarà più un volto a brillare per l’Europa dei confini e degli Stati-nazione delle democrazie liberali, così come si palesa in modo emblematico nel film Il volto (Ansiktet, 1958) di Ingmar Bergman. Solo forse da un’«année zéro» della «visagéité», come proposto da Gilles Deleuze e Félix Guattari, è possibile assegnare, a un’idea di corpo reticolare e nomade, la capacità di disfare il viso per evitare che la politica neghi, attraverso gerarchie trascendenti, il potere della vita. Un tale disegno reticolare sembra essersi completato in alcuni dissimili testi della scena performativa contemporanea, tra cui la pièce teatrale di Rainer Werner Fassbinder, Das Kaffeehaus ovvero “La bottega del caffè” da Carlo Goldoni (1969), e Visage (1961), «azione invisibile – tutta su nastro» di Luciano Berio per la voce di Cathy Berberian.