www.teatrinoclandestino.org

PSYCHE

PIETRO BABINA

Video-Filmography

1990 El Gato
1992 Il boom di un giovane regista (lit.trans.: The boom of a young director)
1996 R.A.P. Resuscitato Amleto Parla (lit. trans.: Resuscitated Hamlet Speaks)
1998 Psyche

Biography

Born on April 10th, 1967 in Bologna, Italy, Pietro Babina did his regular schooling (during wich he was failed for bad behaviour in high school) in his native city, and got his diploma in graphic art at the age of 19. He enrolled in the arts faculty, but dropped out after two years in utter disgust. At the same time he had began his theatrical activity, which, along with Fiorenza Menni and Manuel Marcuccio, would lead him to foud the Teatrino Clandestino Company in 1989. The Teatrino Clandestino company has since received many important awards and citations.

A very brief synopsis

The search for Psyche (both in the mythical and non mythical sense)

Declaration made by the author:

In this brief film I wanted to deal with a problem I had been interested in for quite some time, and that is narrating. However, I didn't want to fall into the usual little story with a beginning, middle and end (or endig, or even little ending). Ithink that this type of narrating is more the "banalisation" of narrating. So, after much soul searching on the hows and whys, I tried to use those elements that i thought I had isolated as specific to narrating, but without herding them into a finiteness or a conclusion. I wanted all the elements to allude to a tale without defining it in any precise way, so that the "looker" could have the main say in loading the sequences of a more precise narration which might suit him or better. In this way, the story, which is the final element of narration and is not the narration itself, comes from and is formed by and in the "looker". To do this, I placed myself in the mindset of someone who is constructing a Prologue which is in and allusive. I remember that I was struck by the beginning of Dreyer's Ordet, where, in the dark of night, thr character of son/Christ is roaming these grassy lands and his father and brothers are looking for him. That beginning is an allusion to a story we will be told only later on, but it has a truly rare narrative power mainly because i think, it gives us the freedom to complete the events within ourselves - in the sense that it makes no attempt to communicate, but rather to evoke.

direction
Pietro Babina

direction of photography and video editing
Pietro Babina

adapted by
"Psyche" by G. Pascoli

with
Fiorenza Menni

assistant
Manuel Marcuccio

organization
Sara Piombo
Marcella Montanari

elaboration by
"Mondo (Mondo)" e "L'Idealista Magico"

	PSYCHE PIETRO BABINA Video-Filmography 1990 El Gato 1992 Il boom di un giovane regista (lit.trans.: The boom of a young director) 1996 R.A.P. Resuscitato Amleto Parla (lit. trans.: Resuscitated Hamlet Speaks) 1998 Psyche Biography Born on April 10th, 1967 in Bologna, Italy, Pietro Babina did his regular schooling (during wich he was failed for bad behaviour in high school) in his native city, and got his diploma in graphic art at the age of 19. He enrolled in the arts faculty, but dropped out after two years in utter disgust. At the same time he had began his theatrical activity, which, along with Fiorenza Menni and Manuel Marcuccio, would lead him to foud the Teatrino Clandestino Company in 1989. The Teatrino Clandestino company has since received many important awards and citations. A very brief synopsis The search for Psyche (both in the mythical and non mythical sense) Declaration made by the author: In this brief film I wanted to deal with a problem I had been interested in for quite some time, and that is narrating. However, I didn't want to fall into the usual little story with a beginning, middle and end (or endig, or even little ending). Ithink that this type of narrating is more the "banalisation" of narrating. So, after much soul searching on the hows and whys, I tried to use those elements that i thought I had isolated as specific to narrating, but without herding them into a finiteness or a conclusion. I wanted all the elements to allude to a tale without defining it in any precise way, so that the "looker" could have the main say in loading the sequences of a more precise narration which might suit him or better. In this way, the story, which is the final element of narration and is not the narration itself, comes from and is formed by and in the "looker". To do this, I placed myself in the mindset of someone who is constructing a Prologue which is in and allusive. I remember that I was struck by the beginning of Dreyer's Ordet, where, in the dark of night, thr character of son/Christ is roaming these grassy lands and his father and brothers are looking for him. That beginning is an allusion to a story we will be told only later on, but it has a truly rare narrative power mainly because i think, it gives us the freedom to complete the events within ourselves - in the sense that it makes no attempt to communicate, but rather to evoke. direction Pietro Babina direction of photography and video editing Pietro Babina adapted by "Psyche" by G. Pascoli with Fiorenza Menni assistant Manuel Marcuccio organization Sara Piombo Marcella Montanari elaboration by "Mondo (Mondo)" e "L'Idealista Magico"