Penelope never resigned herself, she continued to wait.
She never succumbed to the flattery of those who wanted to instill in her the desire to give up or of those who proposed themselves as a new husband. He continued with perseverance and optimism to think that he would return. This stubbornness and this optimism are part of my character. So tells Fiorella Mannoia interviewed by Chiara Cipolla on Radio Italy explaining the meaning of the song “ Penelope “Contained in the new album” Personal “.
One of the six photographs taken by the Roman artist that Goboservice had the honor of transforming into a gobo for the summer tour that started in May is dedicated to Ulysses’ wife. That of photography is the new frontier on which the singer-songwriter is measuring: “It all started for fun – she writes on her fb profile -, photography has turned into a real passion. And there is no age to discover new ones. ” Her Instagram profile, which started incognito and then, once made public stormed by thousands of fans, seems to have been created on purpose to give a new vent to the singer’s human and social tension. There are so many battles that see the “Roscia” in the front row to defend with anger and dignity the rights of the weakest, the excluded and society: from women to migrants, from children to young people. Hence the titles of the other shots: “Learning to be a woman”; “repair”; “the sense”; “resistence”; “Carillon”. Photos that speak and tell sentiments and daily life. A visual declination of the sound suggestions because the Mannoia is able to sing first with the eyes than with the mouth.
This in short is the work commissioned to Goboservice by Agorà Srl the company that took care of the audio service, lights and structures of the very long tour that will end on 27 October in Bologna. A job not for trivial “producers” but for professionals who are committed to translating customer requests into clear, faithful and exciting images. An accurate and complex intervention of chromatic transposition and identification of the best filters to achieve the expected result. Goboservice graphic designers were well aware of the role that gobos would play in the general economy of the show. Not a simple decorative element but the amplification of the communicative passion of the artist. The Vari-Lite VL4000, highly performing machines, should have emphasized with the projections the great emotional intensity that Fiorella Mannoia transmits every time she takes the stage. And they would have to do it from different distances and angles depending on where the event took place.
It was not an easy job for the team of young creatives of the Reggio Calabria company called to measure themselves with the photographic images received. One of them explains: “We had to work with particular care on the high resolution files provided by Agorà to transfer the nuances of the shot onto the coating with the right intensity and at the same time cancel the initial pixellations”.
A meticulous work of “chiseling” first chromatic and then laser both for the 4 gobos in gray scale and for the two full colors, one of which (“Riparare”) deliberately out of focus. There were many initial unknowns as well as external doubts. It highlights them Daniele Da Santis , the Agorà lighting manager who was responsible for handling the delicate glass filters and managing the projections: “In general, I can say that I am really very satisfied with the result obtained. I do not hide my initial skepticism when I learned about the project developed by the Lighting Designer Francesco De Cave . My biggest doubt was the resolution of the image. On tour the distances from the projector to the screen would be different every time, so I knew I had to work continuously with zoom and focus. And that was exactly what worried me! who assured me that by enlarging the projection, the resolution was not lost? The details would have been lost. A very high risk to take at the start of the tour ”.
Hence the need to work with care on the resolution of the image and the verification of the details of each photograph which, inserted inside the large lens scenographically prepared by Tekset , could have revealed unsightly shadows or spots. And instead, as De Santis continues, “the excellent result was immediately evident from the first ignition under construction. Clean image and perfectly visible details. It is really hard to understand what kind of projection it is “.
The tour of the Roman artist therefore proved to be an important case history to validate the binomial gobos projector as a performing and sustainable communication tool : “The organizers did not want an installation with the usual giant LED as a backdrop and which economically would not have been bearable for a theatrical tour. We found a great alternative! ” The artist’s profound gaze found a natural continuation first in the lens of a reflex and then in that of a projector to share his way of seeing the world with the public. A way of necessity… personal which, however, was universally appreciated.
Thanks Daniele Da Santis for photos of the projections during rehearsals and the concert.