May falling asleep (never) open our mouth – working title

2026

Performance

A project by Gaia Ginevra Giorgi
Dramaturgical dialogue Giada Cipollone
Research consultancy Stella Succi
Vocal and somatic practices Veza Fernandez
Choreographic consultancy Asher O’Gorman
Lighting design and technical direction Andrea Sanson
Sounds Devid Ciampalini
Stage design consultancy Cosimo Ferrigolo
Production management Giusy Guadagno
Promotion Edoardo Lazzari

Produced by Extragarbo

With the support of Premio Vienna (Italian Ministry of Culture – Directorate-General for Contemporary Creativity, in agreement with the Directorate-General for Public and Cultural Diplomacy of the Ministry of Foreign Affairs and International Cooperation and the Italian Cultural Institute in Vienna), Snaporazverein, Phonogrammarchiv, Associazione ZONA K, Associazione Culturale Murmuris/Materia Prima Festival, Lavanderia a Vapore – Centro di residenza per la danza

From states of trance, the work explores the compositional possibilities of the default mode network — the brain system activated during rest — through somatic-choreographic practices, extended vocal techniques, psychoacoustic phenomena, and auditory hallucinations. These are approached as queer, fluid, and transformative strategies for haunting spaces of dominant power and knowledge.

May falling asleep (never) open our mouth – working title examines mediumship as the ability to inhabit the threshold between the visible and the invisible, the audible and the inaudible, to contain multiplicities, and to engage in performative practices of interspecific intimacy between human and more-than-human entities.

The voice — a medium that constantly negotiates the boundary between the inside and the outside — constitutes the central axis of this investigation. Patriarchal narratives have historically confined the capacity to enter into contact with other entities to the domains of the feminine, the diabolical, and later, the psychiatric.

Through a historical reading of the oppressive modalities of the male gaze in the intertwined fields of spiritualism, stage magic, and science — and drawing on the theoretical and political perspectives of anthropologist Clara Gallini and the critical illusionism of Mariano Tomatis — the performance frames the voice as an instrument of speech, resistance, and liberation.

Photo credits: Paola Lesslhumer