From a work of G. De Chirico, “The return of Ulysses” and from the thoughts in his novel, Ebdòmero. The starting image is a room, a closed space containing our daily experience and our unconsciousness: this place is a channel between the world and the man, a mental room whose boundaries are undefined and variable: it is no longer a refuge but a place of agitation. The curtains are half-‐drawn, the internal and external journey proceed together: Ebdòmero rows metaphysically in his room, he carries out an internal journey but the return home, does not take him to recognize his places but urges him to the consciousness of the reality that surrounds him. There is feverish state of curiosity and research, in boundless spaces where they try to express the difference between what they are, and what they feel in contact with the others. The research turns out to be fruitless because it would have sufficed to fathom the room they departed from to understand and tighten their relationships. Throughout his daily routine the dancer, like Ulysses, returns to his own dimension: a place forsaken and found again: he comes back transformed after a long journey that is, first of all, a sharing of the mind.
The idea of the return home, between an Ulysses portrayed by De Chirico, navigating inside his closed room on a metaphysical sea-‐carpet, and the relationships that five different people build up during their route with their own abode and their own human dimension.
In this performance everyone brings their relationship with their home: some wants to stay, some have no intention to come back and some would, but always find an excuse to not fulfill the deed of return.
In a world that forces us to look always forward, to very far and sometimes blurry points, the
Return can be the new Departure, even though it requires a sacrifice and it seems the only way.
