The Miserable Thing
With unfinished and half-finished scenes, strong tonal shifts and sudden cuts, Fernando Belfiore's The Miserable Thing simultaneously activates and displaces the audience's imagination. Looking at how a body can change a whole space and shift states of mind, through its quality and duration of movement, this non-linear piece guides the audience towards new ways of dealing with perception and meaning, space and time. Movement and physicality are taken to extremes: middle tones are cut out and transitions simply aren't necessary. In this mode, paradox and contraction bring complexity to the piece. The movement is then explored as a way of manipulating reality, playing with time and imagination, paranoid alertness, alienation, repression, violence and power. Bringing together a collage of such disparate elements as the 'O Fortuna' from Carl Orff's Carmina Burana, hypnotic instructions for achieving wealth (or even becoming a millionaire), disco music, a 'fortune cat', and pop and mass multicultural songs played on the radio, The Miserable Thing investigates the notion of hallucination as it subverts perceptions and perverts normality.