"We must break this kind of passivity and entertainment show that has been established in every field of experience." With these words, Cesare Viviani, a poet of undoubted importance in the panorama of contemporary Italian poetry, has been warned of the many people who came to the Palazzo Capra Toaldo a slave for the fifth meeting of the fourth round of Poetry / Poetry, Encounters with the contemporary poetry . Viviani began with the observation that a meeting with the author has sense only if it can not be reduced to a pleasant entertainment, but also stimulates the desire to move to the written page. "At one time," said the poet himself as a happy experience that we find a book filled with joy. An important book of our life became an encounter of love. I do remember that the phrase was repeated several times: I prefer not to know because the writer will inevitably deluderebbe, sarebbe inferiore rispetto al libro. Oggi invece la situazione mi sembra si sia capovolta: c'è molta curiosità di conoscere l'autore, poca di leggere il libro. Il contatto con la poesia non può limitarsi a quello con il poeta, ma deve avvenire soprattutto sulla pagina scritta. Incontri come questo hanno senso se riescono a stimolare il desiderio di leggere i libri. Si è diffuso un modo troppo disinvolto di vivere, ogni cosa appare unificata in una mistura un po' nauseante dove tutto è comunicabile, tutto è facile. La poesia fa parte di quelle esperienze con le quali non si può essere disinvolti e facili". In perfetta coerenza con queste parole, tutta l'opera poetica di Viviani, compreso il suo ultimo inafferrabile libro The form of life that the poet presented in Schio, can be seen as a strong opposition against the perceived slight, superficial and casual existence dominant today. An opposition is not protected by the privileges of a superior knowledge that, following the nakedness of the word, stripped of its potential to capture and power, aims to revive the nakedness of being human. After the intense and exciting encounter with the public, we asked a few questions Cesare Viviani. Referring to the genesis of
The shape of her life wrote that he wanted to trace the experience of those painters who have been lucky enough to get into a chapel or a room of palaces and to work for years to fresco?
Visiting the fresco cycles of these artists, I found myself admiring their type of experience: these people walked four, five years of their lives working in these places every day, patiently and humbly, to advance their great work representation. And although their work was born from this daily activity, trying to give their work an opening to a dimension that went beyond the newspaper itself. So I said, at least once in your life I want to try this experience. I say put in a room for four, five, and do a job patient, humble, for "fresco" and represent my time.
In his "cycle of frescoes, which took five years of work, there is an absolute centrality of everyday life?
The shape of life is born from the need to appear on the scene everyday people, all those lives that we encounter every day on the road. The various characters take a piece of their lives, appear once and then disappear forever. They show themselves through the usual gestures and speeches easier.
The many figures that appear in the book are often busy doing something. There is a reason behind this rule of "do"?
Before our eyes, every day, we see that each of us does something. In the morning you get up and say, 'What do I do now? ". And then we relocated in the chain of activities. Our every gesture, if you look, it's a way to give ourselves the safety of our being. But is this assurance given by the simplest actions, if not a way to stave off a deep sense of uncertainty that surrounds our lives? The daily act has a great significance, he speaks of what is being done, but also the meaning of salvation that we ascribe to him. The continuing confrontation with the uncertain, with the infinite and nothing should lead to sharing the fate of insecurity and fragility that unites all life. Life non va vista come una forma risolta ma irrisolta e l'uomo deve imparare a portarla dentro di sé senza negarla. Bisogna abbandonare la disinvoltura brillante, superba, orgogliosa con cui si tratta oggi l'esistenza. Non siamo padroni della nostra vita, essa ci domina in ogni momento, siamo presenze assolutamente fragili ed effimere.
L'accettazione della forma irrisolta della vita e della sua dimensione di profonda incertezza può quindi assumere un valore in un certo senso salvifico per l'essere umano?
Nel rapporto con l'infinito, con il nulla, con la dimensione di assoluta incertezza della vita umana, l'uomo dovrebbe trovare una via per umanizzarsi e per mettere da parte l'orgoglio, l'arroganza, la prepotenza. Nella sharing with others of the precariousness of their own destiny you can find the deeper meaning of our existence. It is often said that during the war there was a climate of greater solidarity and more human. This is because they were all poor, all under the constant threat of bombings. We lived in a precarious situation continues. Then with the well-being human beings become more selfish, arrogant, sure. To increase solidarity and brotherhood, we must consider that we are always at war, even if you do not bombard us. The conditions of human life are always the same, still very uncertain and precarious. The great Christian spirituality and not, tends to a continuous dialogue with death because non venga mai dimenticata la condizione di precarietà e fragilità della vita umana. Se noi continuiamo a cercare di vincere l'incertezza, l'insicurezza, la paura accumulando beni e potere siamo sulla strada sbagliata, in una via di fallimento. Dobbiamo tornare indietro da questa strada e vivere come fossimo sempre sotto la minaccia dei bombardamenti, perché non è la sicurezza la vera dimensione della vita, ma l'estrema insicurezza.
Il suo itinerario poetico, pur mostrando una continuità di fondo, presenta evidenti mutamenti. Da dove nasce questa continua ricerca di nuovi percorsi da seguire?
Sono sempre stato attratto dalle opposizioni e in questo amore per gli estremi ho trovato molta sofferenza ma anche il desiderio to explore the whole range of possible combinations of experience. The changes have been very strong but also very natural. The first was with Love of the parties and Merisi, books by which I reached after a gradual normalization linguistic experiments of the '70s. Then, starting in the '90s, with Prayer name, there was a complete normalization of language and un'estremizzazione content and themes. Like the human body changes with age, so the expression of my poetic language has had some obvious changes. However, the changes were always surprising to me, I've never driven nor organized. As I was surprised at the bottom of the magma language, neologistico and deformed the first two books, in particular the de ostrabismo dear since my earlier books, then left in Summulae were very traditional. And 'as if a volcano had then begun to flow magma. I have always given huge priority on controlling the experience and intellectual calculation, even in the trial. My reference was always more welcome Amelia Rosselli who embodies a kind of visionary who deviates from the experimental understood as a language laboratory and binds to a verbal Magmatic body that breaks from its traditional forms.
How did his profession as a psychoanalyst sulla sua poesia?
L'influenza non è mai stata della pratica psicanalitica sulla poesia, ma semmai il contrario. Non ci sono mai stati dei travasi, a parte un caso isolato, dal mio lavoro di psicanalista alla poesia. Posso dire che mi sembrano però due pratiche affini in quanto io vedo la psicanalisi come un'arte, dove la dimensione creativa legata all'esperienza è fortissima. Credo che le due esperienze siano analoghe, in quanto entrambe si lasciano alle spalle il sapere e le conoscenze acquisite, per imboccare una via che va al di là di ciò che sappiamo, e in questo spazio ulteriore permettono di arrivare al limite del conoscibile affacciandosi su una voragine, su un abisso.
The shape of her life wrote that he wanted to trace the experience of those painters who have been lucky enough to get into a chapel or a room of palaces and to work for years to fresco?
Visiting the fresco cycles of these artists, I found myself admiring their type of experience: these people walked four, five years of their lives working in these places every day, patiently and humbly, to advance their great work representation. And although their work was born from this daily activity, trying to give their work an opening to a dimension that went beyond the newspaper itself. So I said, at least once in your life I want to try this experience. I say put in a room for four, five, and do a job patient, humble, for "fresco" and represent my time.
In his "cycle of frescoes, which took five years of work, there is an absolute centrality of everyday life?
The shape of life is born from the need to appear on the scene everyday people, all those lives that we encounter every day on the road. The various characters take a piece of their lives, appear once and then disappear forever. They show themselves through the usual gestures and speeches easier.
The many figures that appear in the book are often busy doing something. There is a reason behind this rule of "do"?
Before our eyes, every day, we see that each of us does something. In the morning you get up and say, 'What do I do now? ". And then we relocated in the chain of activities. Our every gesture, if you look, it's a way to give ourselves the safety of our being. But is this assurance given by the simplest actions, if not a way to stave off a deep sense of uncertainty that surrounds our lives? The daily act has a great significance, he speaks of what is being done, but also the meaning of salvation that we ascribe to him. The continuing confrontation with the uncertain, with the infinite and nothing should lead to sharing the fate of insecurity and fragility that unites all life. Life non va vista come una forma risolta ma irrisolta e l'uomo deve imparare a portarla dentro di sé senza negarla. Bisogna abbandonare la disinvoltura brillante, superba, orgogliosa con cui si tratta oggi l'esistenza. Non siamo padroni della nostra vita, essa ci domina in ogni momento, siamo presenze assolutamente fragili ed effimere.
L'accettazione della forma irrisolta della vita e della sua dimensione di profonda incertezza può quindi assumere un valore in un certo senso salvifico per l'essere umano?
Nel rapporto con l'infinito, con il nulla, con la dimensione di assoluta incertezza della vita umana, l'uomo dovrebbe trovare una via per umanizzarsi e per mettere da parte l'orgoglio, l'arroganza, la prepotenza. Nella sharing with others of the precariousness of their own destiny you can find the deeper meaning of our existence. It is often said that during the war there was a climate of greater solidarity and more human. This is because they were all poor, all under the constant threat of bombings. We lived in a precarious situation continues. Then with the well-being human beings become more selfish, arrogant, sure. To increase solidarity and brotherhood, we must consider that we are always at war, even if you do not bombard us. The conditions of human life are always the same, still very uncertain and precarious. The great Christian spirituality and not, tends to a continuous dialogue with death because non venga mai dimenticata la condizione di precarietà e fragilità della vita umana. Se noi continuiamo a cercare di vincere l'incertezza, l'insicurezza, la paura accumulando beni e potere siamo sulla strada sbagliata, in una via di fallimento. Dobbiamo tornare indietro da questa strada e vivere come fossimo sempre sotto la minaccia dei bombardamenti, perché non è la sicurezza la vera dimensione della vita, ma l'estrema insicurezza.
Il suo itinerario poetico, pur mostrando una continuità di fondo, presenta evidenti mutamenti. Da dove nasce questa continua ricerca di nuovi percorsi da seguire?
Sono sempre stato attratto dalle opposizioni e in questo amore per gli estremi ho trovato molta sofferenza ma anche il desiderio to explore the whole range of possible combinations of experience. The changes have been very strong but also very natural. The first was with Love of the parties and Merisi, books by which I reached after a gradual normalization linguistic experiments of the '70s. Then, starting in the '90s, with Prayer name, there was a complete normalization of language and un'estremizzazione content and themes. Like the human body changes with age, so the expression of my poetic language has had some obvious changes. However, the changes were always surprising to me, I've never driven nor organized. As I was surprised at the bottom of the magma language, neologistico and deformed the first two books, in particular the de ostrabismo dear since my earlier books, then left in Summulae were very traditional. And 'as if a volcano had then begun to flow magma. I have always given huge priority on controlling the experience and intellectual calculation, even in the trial. My reference was always more welcome Amelia Rosselli who embodies a kind of visionary who deviates from the experimental understood as a language laboratory and binds to a verbal Magmatic body that breaks from its traditional forms.
How did his profession as a psychoanalyst sulla sua poesia?
L'influenza non è mai stata della pratica psicanalitica sulla poesia, ma semmai il contrario. Non ci sono mai stati dei travasi, a parte un caso isolato, dal mio lavoro di psicanalista alla poesia. Posso dire che mi sembrano però due pratiche affini in quanto io vedo la psicanalisi come un'arte, dove la dimensione creativa legata all'esperienza è fortissima. Credo che le due esperienze siano analoghe, in quanto entrambe si lasciano alle spalle il sapere e le conoscenze acquisite, per imboccare una via che va al di là di ciò che sappiamo, e in questo spazio ulteriore permettono di arrivare al limite del conoscibile affacciandosi su una voragine, su un abisso.
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