First is the Worst (2013 -2015)


concept, text, performance Luanda Casella
dramaturgy Peter Stamer


FIRST IS THE WORST AT PASSAPORTA FESTIVAL / AB

First is the Worst is an endurance storytelling performance of 3 hours with open doors. (This means that the audience is free to come in and out on specific moments).
Once inside, the public is immersed in an evasive narrative of which the basic frame constantly seems to be shifting. Full of dramatic moments and balancing on the border between fact and fiction, the story never seems to come to a close.

The never-ending plot is build on a sequence of cliff-hangers — which suggestively invites the viewers to make certain decisions: whether to leave and deal with their own curiosity, or to stay and accept the fragmentation of the plot, and therefore engage in making intellectual and emotional associations to the completion of the stories.

First is the Worst deals with subjects related to contemporary virtual reality addiction and exhaustion:
online storytelling gaming and its expanded realities; randomly generated identities; multiple player interfaces, kinetic experiences, etc... and ultimately, the very building of imaginary realities through hypnotic storytelling and unreliable narration.



Long novels written today are perhaps a contradiction: the dimension of time has been shattered, we can not love or think except in fragments of time each of which goes off along its own trajectory and immediately disappears. We can rediscover the continuity of time only in novels of that period when time no longer seemed stopped and did not yet seem to have exploded...
ITALO CALVINO_ "If on a winter's night a traveller"


BACKGROUND

This project started as a desire to create a narrative system inspired by the structures used in jazz music. My intention was to develop a contemporary storytelling format, in which I could connect the experience of watching a live concert to that of reading a book. — a live-book.

Departing from the idea of THRESHOLD — a point of entry or beginning — this live-book is structured as an open space of interaction between texts, music and live projections, all operated live with the use of a single midi-controller. The method of production consists of many stories interlinked with one another, where transitions are as important as each story-line. The main story-line suggests a larger tapestry of events that do not have a beginning nor an end, but are always in the middle (on the threshold).
The narrative could be seen as jazz-like in its experimental arrangement and the sense of improvisation that the prose suggests — with complex transitions, indications of non-linearity and lack of hierarchy between stories.


So he jumped on a horse called FURY; No, he jumped on a horse called GLORY; No, he jumped on a horse called GINGER; No, he jumped on a horse called GUNPOWDER; No, he jumped on a horse called GYPSY; No, he jumped on a horse called MOONLIGHT; No, he jumped on a horse called PILGRIM; No, he jumped on a horse called ROCKET; No, he jumped on a horse called STARDUST; No, he jumped on a horse called SUNSTORM; No, he jumped on a horse called HARRY; No, he jumped on a horse called ZEBRA; No, he jumped on a horse called DESERT; No, he jumped on a horse called MONEY; No, he jumped on a horse called MONKEY; No, he jumped on a horse called PUSSY; No, he jumped on a horse called CHAPTER. He jumped on a horse called CHAPTER, and together they rode a long way...

STORY MAP_

an exercise on introducing characters as storytelling device


music_ John Coltrane "Bakay"/ image_ "field 8" / Emma McNally/ animation_ Pablo Casella

STORY FRAGMENT_