Trickster-p

B, the second episode of a trilogy dedicated to fairytales, has been created as a rereading of the classic fairytale Snow White.  It is the end result of research focusing on contamination between different art forms.
B has been developed similarly to .h.g. (dedicated to the fairytale of Hansel and Gretel) as a room by room installation in which the spectator is invited to travel through the spaces in solitude accompanied with headphones. But if Hansel and Gretel was the fairytale of infancy, Snow White is the fairytale of the passage from infancy to adulthood in which the infantile brutality of the anthropophagous witch leaves space for internal strife and for loneliness.
As in a recurring dream with undefined borders, Snow White lives in a kind of suspended world in which death is an ever present counterpoint:  immense deserted rooms, the darkness of the forest, the dirty and worn beds of the dwarfs.  These create the background of her loneliness.
In the fairytale Snow White there appears to be something which is constantly in the balance between two opposites:  life/death, luxury/poverty, immaculate/impure.  These are the binomials upon which the narrative framework is grafted.
The rereading created by Trickster-p doesn’t want to be a typical museum-like path which slavishly reproduces the ambiances of the story, but rather a sort of trip through the most intimate and hidden aspects of the fairytale itself.  These create shared and shareable steps in which each singular spectator can interact through their own personal imagery.
Far from the pin ups of our days, Snow White has something diaphanous about her.  She has a sort of fragile beauty; a bit emaciated – a perfect body, but already a predestined corpse.  But it is precisely in her desperate perfection, in her silent immobility that the fairytale is – and remains – one of disarming modernity.