[D-G] viaggio in cosmo ./ second final non definitieve versio

adline vanlindenbergh bisouxnoursfast at fastmail.fm
Sat Nov 18 16:19:48 PST 2006


Part 1: Viaggio in Cosmo, by Roberto Rosselini as the Owl

Title: An Ecclipse

DAY. In a blue key room in downtown Vancouver, the Owl and six actors:
Havah, Adama, Lilith, Filya Houtman, Bart Twains & Walt Disney

 

Rosselini as an Owl, flying around the six actors sitting on a sofa. His
eyes are recording what he is gazing at. We are getting to see through
his eyes. He recedes to one side of the blue room. Lilith stands up and
approaches the window bay, using her two hands as telescope. 

 

                                       LILITH

                       The Planet Gulliver is obscuring the star 

                        of Slumberland. Contact with the Mirroring 

 Past is rapidly arising. The Ecclipse
 

 

                                       ADAMA

                        Make sure everybody in this room

                        remembers how to stay awake.

 

Rosselini makes a complete turn and shouts "Music!" to the sound
engeneer. A radio is turned on, a faint radio noise eshews. 

 

                                       ADAMA

                        By all means resist the sound of the powerful 

                    Cosmo radios! They can numb you out of activity. 

 

                                       ROSSELINI

                        Now everyone start digging the ground while 

                        Filya comes here


 

Actors raise up and begin to move blue painted clothes from a big heave
next to the sofa and scatter them all around the room. Rosselini is
filming 

with his two eyes. Then he gets impatient.

 

                                         ROSSELINI

                        Filya, what are you waiting for? 

 

Filya was distracted. She crosses the distance between her and Rosselini
on the other side of the room. She is filmed by Rosselini's eyes in
close shot. She speaks in a microphone that she handles herself. 

                                       

FILYA HOUTMAN

                        Roberto Rosselini reappeared among us 

                        in the eternal present passing and becoming. 

Shaped in feathers of an owl, his eyes films 

6 actors he has casted to

                        play in his new movie: Viaggio in Cosmo. 

                      

- Mister Rosselini, can you tell the audience what

                        are you doing in the gait of an owl?

 

                                       ROSSELINI

                       Let me answer you in the form of a riddle:
                       Today's art  

                   becomes each day more childish. Everybody has 

                     the mad desire to be the most childish possible. 

                 I don't say ingenuous, I say childish. By childishness 

                      we have fallen to the lowest end of the human
                      ladder. 

                    We have passed to the antropomorphic ape. We soon 

             will be passed to the owl and to the eel. That's what   

              makes me angry! This total lack of shame. 

 

                                 FILYA

                But this is more or less what you said to Fereydoun 

             Hoveyda and Eric Rhomer in Cahiers du Cinéma of 1963. 

             What  have you been doing since 1977, the year you 

                              disappeared?

 

                               ROSSELINI

                        Death is only a concept. I as Roberto Rosselini 

you see, am dead. Yet I am right now surviving death as an owl thru my
artworks, in the eternal return zone that I am about to show you. And I
want to revive this longing for life on earth by working with
contemporaneous actors and talk in such a new movie about the posthumous
activity of the artist. 

 

Filya passes to the side. Rosselini watches the actors still carrying
clothes "digging the ground". His focus calibrates and the blue of the
room and of the clothes leaves way to a different landscape. 

 

 

Title: IN ETERNAL RETURN ZONE. Night. Some of the actors are appearing,
as holographic sculptures digging the ground in an archeological
settlement. As holographic characters gradually uncover the ground and
discover the sculpture of two lovers caught intertwined by the Vesuvio's
lava, Rosselini on a branch of an olive tree meditates, his own voice
reciting: 

 

                               ROSSELINI

                What is touching, is the weakness of mankind. 

                It is not man's force. In modern life, man has 

                lost all heroic feeling about life. It must be brought 

                back to him, since man is a hero. The daily life 

                struggle, is a heroic struggle. In order to paint 

                this, one must start from the bottom.

 

The stone of lava around the two lovers crackles and two orang-outangs
monkeys emerge the archeological remains of Pompeï. 

 

                           INGRID BERGMAN

                Nothing has changed since Roberto's movie. 

                All is the same, exeption made of our 

                  body. Antropomorphic Monkeys
 

 

                               GEORGE SANDERS

                 What should we do? To carry on Viaggio in Italia? 

                Where is Roberto?

 

                               ROBERTO ROSSELINI

                It's him, in this owl. You are in fact casted in 

                   the eternal return zone: to play there your 

                own role: Ingrid Bergman and George Sanders 

                           In a new movie called Viaggio in Cosmo 

                               

 

Ingrid is astonished. Other monkeys are excavated out of human
sculptures by the holographic characters. The ruins are covered with
antique paintings. 

 

                               INGRID BERGMAN

                Do you have a mirror?

 

Filya holograph gives her a small miror. Ingrid powders her nose.

 

                               INGRID BERGMAN (asking George) 

                Are we still husband and wife?

 

                               GEORGE SANDERS

                Ask Roberto. But I would prefer to keep intact 

                 our work in the original Viaggio in Italya. 

 

Other monkeys gather around the couple.

                               OTHER MONKEY

                        Who's gonna watch this movie?

                        Sure Roman slaves ought not to 

                        be portrayed as less evoluted a specie 

                        than the modern day spectators, right? 

 

                               INGRID BERGMAN

                Personnaly I do mind equally about this new outlook. 

                I feel I would need to talk in private with Roberto. 

        

Roberto Rosselini flyes to an other place, Ingrid follows him there.     

ROSSELINI

                        What do you have on the skull Ingrid. Tell it
                        all. 

 

                                       INGRID BERGMAN

                        I fear we could destroy what we achieved in the
                        past 

 

                                       ROBERTO ROSSELINI

                        But the trouble is our past work has been
                        already partly 

                     destroyed by the lack of faith in new generations
                     of  

                     artists. We must restart with the perspective in
                     mind that 

                   the Cosmos is not always evolutive in the good sense
                   for    

                                                mankind.

 

                                       INGRID BERGMAN

                        Why have we become orang-outangs?

                               

                                       ROBERTO ROSSELINI

                        Because we have sacrificed our human development 

                        on the altar of a vilifying subjectivation.
                        Modern day 

                        audiences are not capable to understand us
                        otherwise. 

 

                                       INGRID BERGMAN

                        Is Cinema a zoo?

 

                                       ROBERTO ROSSELINI

                        We must confront this possibility. 

                               we should look for the possibilities of
                               liberation 

                        immanent to this new condition on Earth. 

 

The six holographic actors approach Rosselini.

 

                                       WALT DISNEY

                        Bobby. With Bart we have tried to come back to
                        the 

                        blue room, but it seems we are blocked in this   

                                             "dimension". 

 

                                       ROBERTO ROSSELINI 

                         This dimension is our new real, it is a good
                         thing to be 
                            captured by it: now what remains to
                            accomplish is to
                              show audiences that this place is livable.
                              As actors
                                 Bart and Walt, I want you to explain
                                 your point of view
                                     as the only viable one: technology
                                     being a by-product of
                                     the directions running in Cosmos,
                                     monkeys need to be
                                       your slaves and accept their new
                                       condition whole heartedly 
 

                                       BART TWAINS 

 

 
     Ok! So we have explored the area. 
           It seems pretty much uncertain. 
           There is a giant databank...
 

We see Roberto looking a striated dome working as databank, middle dead
star of a planet

where stand the ruins of Pompeï and the Vesuvio.

 

                                        BART (cont'inued)

 and a Vesuvio which is frightening the monkeys, always on the brink of
 a new scandalous eruption. 

 

                OTHER MONKEY 2

Bart Twains and Walt Disney are right about one thing,

we are not protected from the volcano. So we will go

mount an expedition to the archives database to cover Pompeï with
shields props from the Death Star movies. 

 

                BART TWAINS

I have been to the archives, I have the files, you just have to upload
the shields into the image properties of the antiquities. 

 

Bart Twains gives materials to the monkeys, who start building a steel
city above the ruins of Pompeï. 

 

                                       INGRID BERGMAN

 

Roberto who are the monkeys, for you, in your storyworld?

 

                ROBERTO ROSSELINI

 

                        Someone said monkeys are for humans a burst of  

                       laughter or a hurting shame.        But look at
                       me:

                            I am an owl, and thus a creature of the
                            night 

                             or of the Ecclipse. Thus my past life, my 

                               past philosophy is not convenient for me 

                            anymore. I do movies that are not for
                            humans. 

 

                                       INGRID BERGMAN

                        To be dead for such a long time, and to awaken
                        in the 

                        gait of animal is making me so instable. I am
                        longing 

                            to reestablish contact with the human actors
                            of 

                          any set, I find it absurd the monkeys should 

                              behave as slaves and build a city over the
                              ruins of

                                  Pompeï. 

 

                                       ROBERTO ROSSELINI

                Ingrid, were you to have any significant role in my new
                movie, 

                        you would be a bridge between species, but
                        probably 

                          more between 
 something happening between an
                          owl 

                  and a monkey, escaping to the condition 

     imposed to monkeys and the divergent paths when owls 

                            succeed in stimulating their desires despite
                            the city is  

                                     a steel armoured city?

 

                                       INGRID BERGMAN

                        I was trying to figure it all why were humans 

                     shaped holographically in this movie, and I just
                     got it: 

                           there are strong doubts casted here against
                           the 

                           viability of staying wholly oneself in such
                           an 

                              enslavering  environment. They use the
                              holographs as 

                                  protective shields.

 

 

                                       ROBERTO ROSSELINI

                      Yes, but doubts, mind you: no definitive
                      conclusion. What 

                       would humans look like once gazed at by the
                       perception of 

                 external wild animals, that we still need to become by
                 the 

                way, what could such humans look like: or reversedly
                what are 

              we, as we are watched by such all encompassing human eye, 

                 as much technologically powered would he have evolved
                 so 

                                                     far.

 

                                       INGRID BERGMAN

                        Enough talking. Now let's bring our ideas to
                        live! 
 

Ingrid & Roberto walk in the new city of enslaverment. Some monkeys are
in a group, playing. Above them floating is a light egg.

 

                                       ROBERTO ROSSELINI

                          _ Do you see above, this bulb? It is the
                          virtual 

                              object which follow them and acts as a
                              triggerer 

                                in their game. I too would like to play. 

 
Seen by the central human eye video fabrik Gensis Khan ( a chimp monkey,
thus non a orang-outang ) sends a message which dissolves itself in the
city, frightening other monkey workers. 

  

                                  GENSIS KHAN 

                      Your civilized empire of orang-outangs is
                      declining, 

                           I see no purpose in the slavish 

                        accumulation of archive material except for 

                            tyrany over the senses. You are cowards, 

                              we will spill your blood.
 
The message emits lazer beams it kills some monkeys 

 

                               INGRID BERGMAN

                        What were you saying about playing with

                          virtual objects? You surely must not be
                          serious?

                                  
 

                               ROBERTO ROSSELINI

                            I have discovered what I call body 

                        image sound. The sound and image in cinema 

                          compose with the human body, giving 

                            back to it the capacity to have emotions 

                       Look: Havah, originally she was created by 

                          Lilith's body image sound that she adressed to 

                            Adama. That's why I want to talk about 

                                  their story in Paradize. That's where
                                  Havah, 

                           Lilith's double, has been created in Adama,
                           and 

                             escaped from him.
 
                                     INGRID BERGMAN

                        Do you remember what we said earlier? 

                          

                               ROBERTO ROSSELINI

                        No. I want to start with Havah and the other
                        holographs. 

 

                                  INGRID BERGMAN

                          Is this not a fantastic place after all, we
                          don't know 

                           the principle of reality imposed to us by
                           humans 

 

                                       ROSSELINI

                         Do you want to get laid with me? So that they
                         will not  

                             say that our union is not natural? 

 

                                       INGRID BERGMAN

                         Yes! Please so. 

 

Out of the owl Roberto a very long penis is exiting and penetrates the
orang-outang Ingrid Bergman. 

Havah arrives.

                                           HAVAH

                     No ! You won't make love now that we're attacked by 

                          the terrorist chimps. We need you to talk with
                          us. 

                      And when do we start the movie? Emotions of Eden?
-- 
  adline vanlindenbergh
  bisouxnoursfast at fastmail.fm

-- 
http://www.fastmail.fm - IMAP accessible web-mail




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