"Pavane for Antigone" by Hanna Preuss now at Teatro Instabile Miela, Trieste

A few months ago we posted about the premiere of "Pavane for Antigone" by Hanna Preuss. It was the first date in Ljubljana. Now the duo on stage composed by Antonella Bukovaz (poetry and acting) and Antonio Della Marina (saxophone) is ready for the Italian premiere in Trieste, on January 21. Here you have further details about the event that will take place at "Teatro Instabile Miela" in the calendar of "Trieste Film Festival". As we already remembered while welcoming the first date of this project, we wish to remark again that "Pavane for Antigone is a kaleidoscope of intimate artistic confessions expressing the longing of modern man for peace with one’s self and the world, for the ending of social discord and perpetual conflict that have all but exhausted humanity. The performance marks 100 years since the First World War. Through the universal aesthetics of sound and light, the  Sonorous theatre transcends the boundaries of language." Today we are pleased to offer to our readers a text by Maria Campitelli, extract from the catalogue of "Trieste Film Festival". [Photo credits: Nada Zgank]

Antonella Bukovaz
Pavane for Antigone 
by Maria Campitelli

This is a complex performance that makes use of different languages to create an extraordinary evocative and poetic metaphor, in which myth and modernity intertwine to express a yearning for peace that still pervades man today despite the widespread unrest that surrounds us. It is a work that springs from the idea of commemorating the 100 years since the outbreak of World War I: the setting of the video supporting the event introduces us into a tunnel at the foot of the hills near Nova Gorica; in other words, into the actual area where the tragedy unfolded on the Italian front. It provides a point of reference but the aim is not to offer a precise, concrete one, because the narrative of the performance is marked by an abstract concept that touches things without illustrating them, progressing by allusion, at times illuminated with stretches of enchanting landscape, offset by the darkness of tunnels; it is in this process that the story of the multiplicity and sometimes conflicting feelings passing through the human soul unfolds.

Antonio Della Marina and Antonella Bukovaz on the stage
Destructive feelings mixed with explorations of the nature of the soul in an attempt to overcome the eternal status of discord that prostrates humanity: this is the thread that runs through the expansive yet detailed work of Hanna Preuss. The aspiration is peace with ourselves and with the world around us, and the reference to Antigone, with her rebellion against acceptance of the right of power to subvert the consecrated natural and divine rules, intertwines with potentially explosive latter-day feelings of justice within well-structured social situations. Antigone’s impossibility of action combines with the current constraints of a society of superficiality and artificiality that reduces one’s freedom and autonomy of behaviour, producing a globalised conformism. Hanna Preuss’s investigation – which has produced a concept and a sound environment for the piece that reaches epic dimensions – becomes a universal symbol of a human condition that has ancient roots. It is rendered topical by the specificity of the contemporary world through the instruments of unstoppable technological progress which, in the creation of the performance, enables an aural-visual co-penetration, an expressive power of image, sound and word that derives from long experience and the striving of an artist with a broad vision of the world. And she has poured her skills and knowledge into the Vodnikova domačija (Vodnik Manor) Sonorous Arts Centre of Ljubljana, of which she is the artistic director. With this formidable intellectual and technological equipment, and in this case supported by numerous international collaborations, Hanna Preuss has, with Pavane for Antigone, blended myth, history, present and a future projection. The story, nourished by poetic abstraction, unfolds with actress Antonella Bukovaz (recently appearing in Topolò) who is also the author. She recites in Italian and Slovene, accompanied by a trilingual text. She also appears in the video, walking into the tunnels with a lamp in her hand, a new Diogenes, to lighten the darkness of the place and of knowledge, and appears on stage, overlaying reality and fiction in a combination of great theatrical impact, while the live saxophone played by Antonio della Marina, rips across the stage with its tearing sound. This live-fiction becomes the paradigm of current existential modes. But what prevails is a vibrant sense of poetry, which, through solitude – “only alone, lost, silent, on foot, can I recognise things” (P.P. Pasolini) – through time, through the unraveling of descents and with them the acquisition of good and evil, opens in the end to love.

PAVANA ZA ANTIGONO
PAVANA PER ANTIGONE / PAVANE FOR ANTIGONE
Slovenia
2014, length: 40’

Original Concept & Soundscape: Hanna Preuss
Poetry & Acting: Antonella Bukovaz
Saxophone: Antonio Della Marina
Video: Hanna Slak
Motiongraphy: Luka Umek
Light design: Jaka Šimenc
Sound Engineering: Marko Trstenjak
Sound Technician: Jan Turk
Set Designer: Tomaž Primožič
Costume Designer: Jožica Trstenjak
Technical Assistance: Domen Bertoncelj
Graphic Design: Jaro Jelovac
Photography: Nada Žgank
Translations: Jeremi Slak
Organization: Nadja Šimnovec
Public Relations & Executive Producer: Marko Ipavec
Produced by: Hanna’s Atelier for Sonorous Arts
Supported by: Centro di arti sonore Vodnikova domačija (Lubiana), Ministero della Cultura della Repubblica Slovena, Comune di Lubiana, Trieste Film Festival, Teatro Miela (Trieste), Centro per il Film sloveno.

The Great War in Nord Africa: an interview with Francesco Correale

We are today pleased to offer an interview with Francesco Correale, historian at the CNRS (UMR 7324 CITERES), Tours. He is the author of an important book – La Grande Guerre des Trafiquants. Le front colonial de l’Occident maghrébin (Harmattan, 2014) – in which he offers new insights into another forgotten front of the Great War: the Northwest African countries. Focusing on a (often neglected) aspect of the colonial history, i.e. the weapons smuggling, Correale describes the central role played by resistance movements in the French colonies with the German support and succeeds so in showing how history is not at all the devastating bulldozer that one may think, it leaves underground passages, crypts, holes and hiding places – if we want to recall Eugenio Montale’s poem, that Correale quotes at the beginning of his book. Indeed, the history of the First World War in Maghreb is like an ignored underground passage below the well explored landscape of the European fronts; we can now start to walk anew this passage with the help of Correale’s researches that we can approach in the following interview. This is a unique chance to discover at least few central features of this Mediterranean shore of the war and realize how little we know about the history, the culture and the traditions of these countries. We thank therefore once again Francesco Correale.

Woodrow Wilson
WWIB: Can you briefly explain how the anticolonialist movement in Maghreb was related to WWI?
FC: Nationalist movements in Maghreb are connected to World War I by a “triple link”. First by the participation of some people in the military operations against the colonial  power in situ, in the context of the Great War in North Africa. It includes not only those people who will afterwards enter, in one way or another, the national liberation movements in the different Maghrib Countries, but also those people who become a sort of “founding myth” of the fight against European colonialism and therefore a reference point for the next generations of nationalists.
Second by the participation, bon gré mal gré, of conscripted North African soldiers into colonial armies (the so-called “troupes coloniales”), particularly the French ones, to fight on the European frontlines. Joining both European trenches and political circles (especially the Socialist Parties), they developed their political consciousness and then spread it once they returned to their countries. Third by the echo of Woodrow Wilson’s statement about the new order which had to be established after the end of the Great War - the so-called Fourteen Points. They had a strong impact in terms of claim of rights expressed by most of the political leaders in Maghrib countries towards colonial administrators after the end of the Great War and until the independence.

Mulai Ahmed er Raisuni
WWIB: Could you introduce the protagonists and the main events in the history of the Great War in Maghreb?
FC: In my book I analyse the First World War in current Morocco, Western Sahara and northern Mauritania. The actors in these countries are the French and Spanish colonial authorities, on the one side, and, on the other side, the German-Turkish spy network with its head office in the neutral Spain. German-Turkish authorities sent weapons, money and instructors to most of the anti-colonial resistance leaders. But the very central actors are the leaders of the resistance movements.
I.          I.     Ahmad al-Raîsuni, active in the North-West region placed between Tangier and the French military zone, within the area of Spanish influence. Sometimes operating in perfect harmony with the Spanish troops, he kept a strong anti-French attitude and, by virtue of his title of Sharif (i.e. descendant of the Prophet Muhāmmad), he seemed to aspire to the Moroccan throne, or, at least, to become“Khalifa” and represent the ‘Alawi Sultan in Tetuan, the capital of the Spanish area.
II.         Abd al-Malik, active between the eastern borders of the Spanish area and the region of Taza, in the centre of the French Morocco. This actor and his political views are usually scarcely mentioned in history books. Last son of the Algerian Emir ‘Abd-al Qādir,' Abd al-Malik was born in Damascus and settled later in Tangier, serving the French police in the town. A few months after the outbreak of the hostilities in Europe, he became a fervent partisan of the German-Turkish coalition; this choice was more in agreement with his origins. He created in the middle of the French Protectorate a small army, which was supported with weapons, money and men by the Germany through the Spanish Moroccan area. Impregnated with pan-Islamic principles, he is probably the most idealistic of the leaders of the resistance, but it was quite hard to him to impose his power over all the tribes. Indeed, they considered him as a “foreigner” because “alien” to the Moroccan environment.
III.         Ahmad al-Hayba, active in the Southern region, from the Sūs to the Mauritanian Adrār. Proclaimed Sultan of Morocco in August 1912, in Marrakesh, he was defeated by the French army in September. He took over the reins of the anti-French struggle since the beginning of the hostilities in Europe. He was the son of Sheikh Mā’ al- ‘Aynayn, leader of the Saharan anti-colonial resistance between 1905 and 1910. In fact, his political action can be considered the pursuit of the agenda of his father, who died in 1910. Al Hayba settled in southern Morocco but had emissaries all over the Western Sahara. Colonel Francisco Bens, the Spanish officer in charge of the administration of the colony of Rio de Oro since 1903, was forced to negotiate with Al Hayba in 1916, in order to establish the Spanish settlement in the region of Tarfaya, the southern zone of Spanish influence in Morocco. Even al-Hayba (often improperly called “Blue Sultan” from French and Spanish historiography, an appellation used to designate his brother and successor Murabbī Rabbū) aimed for the Moroccan throne, seriously worrying so General Lyautey, the French General Resident in Moroccan Protectorate. Lyautey feared a change of dynasty like that occurred centuries before, when the Almoravids and the Almohads came from the areas of the Sahara to conquer all territories until the al-Andalūs.
These three chiefs were considered by German and Ottoman authorities the main leaders of Morocco-Saharan resistance movements against French colonial powers. Nevertheless, it is worth mentioning the so-called Berber resistance in the Middle Atlas as well. Berbers brought together various leaders and, quite independently from the strategies of Berlin and Istanbul, led a struggle against the colonial troops. One of the most evident consequences was the French defeat, on 13th November 1914 in El-Harri: 600 dead men (including 33 officers), a high number of wounded and disappeared soldiers and two batteries of cannons got lost.
Regarding the geographic areas that I didn’t take into account in my book, it is worth emphasizing the anti-Italian action of the Sanūsiyya, a Muslim political-religious Sufi order and tribe active in Libya and the Sudan region, which received the support of Turkish and German reinforcements. We should also mention the Niger, where a revolt took place of 1917: it is known as the “Kaocen revolt”, by the name of the Tuareg chief, also supported by German instructors against the French.
It is a fact however that the history of First World War in North Africa suffers from an important historiographical void. The development of new researches on this topic could bring out therefore new and unexpected actors. At the same time, it’s worth underlining that the above mentioned leaders of the anticolonialist resistance, who were active before the outbreak of the Great War, kept directly in touch with their Turkish-Germans allies (like Ahmad al-Hayba or ‘Abd al-Malik did), otherwise they failed to link (although indirectly) their action with the Great War historical and political context. They took advantage of the emergency situation as consequence of the War in the colonized areas of Maghreb. No surprise that the colonial authorities feared a great revolt assisted by Turkish-German forces across North Africa.


WWIB: How did you start to work at this book? Which sources did you use during your researches?
FC: The book is the result of my doctoral thesis, defended in 2003 at the University of Aix-Marseille I, under the direction of Robert Ilbert. Actually, my previous researches were not really focused on the First Wold War. I was rather interested to the issue of weapons traffic in Moroccan-Saharan regions, between the late 19th and the early 20th century. Then I came across a body of archives completely dedicated to the First World War and to be more precise to the conflict in Morocco; so I decided to focus my text on the years 1912-1918.
The collection of documents was carried out in the most important archives in France (Archives of Foreign Affairs, which was at that time located in Paris, while today it is in La Courneuve; the Archives Nationales dOutre-Mer, in Aix-en-Provence; the Military Archives in Vincennes; the Centre of diplomatic Archives in Nantes), in Spain (Archivo General de la Administración, Alcalá de Henares and Archives of Foreign Affairs in Madrid), in Belgium (the Archives of the Foreign Affairs in Brussels), and of course in Moroccans (Archives of the Protectorate stored in Rabat).

Les tirailleurs marocains
WWIB: We know that you often work in loco, so we can suppose you are an expert of the culture of this region. Can we talk about a WWI remembrance in Maghreb? Is there any interest for the Centenary? Do people still link WWI and colonialism?
FC: A memory of the First World War can be found in Morocco, but it does not mention the events I write about in my book. These events have been “forgotten” in the name of a dynastic legitimacy (that of the Royal family at the power), which was specifically questioned by the leaders of the anti-colonial resistance. The memory of World War I in Morocco is mainly related to the “tirailleurs marocains”, who actively fought on the European fronts. Very few references can be found about the close relationship between colonialism and the Great War. The interest for the Centenary is therefore connected to the claim of a role of Moroccan troops in the defence of the French soil against the German invasion. This attitude often seems the result of a cultural subordination (in a “Gramscian sense”) of the Moroccan to the European point of view and celebrative registers of the Great War, or to affirm in support of the present generations the rights to live in France (and in the other European countries) given that their grandparents  fought there during the World War. These attitudes omit the fact that, for example, the “tirailleurs” were often recruited by force or that many appealed to the extremely critical social and economic conditions of the Moroccan population during those years.

WWIB: Do you think that the Centenary may offer an opportunity to increase the attention of the scholars also for these peripheral fronts?
FC: I think it is a duty for the organizers of the various events related to the Centenary, to affirm and remember that the Great War took place, in fact, “in the world”.
In my opinion, the centenary offers a central opportunity to stress the “worldwide” dimension of the Great War. The carnage that took place in Europe was not the unique consequence of that conflict: an important historiographical operation has to be made to improve the knowledge of the other fronts.

WWIB: Does it still make sense to speak about peripheral fronts if we all call it the First “World War”"? Isn't this a kind of contradiction?
FC: Yes, it is a contradiction that has its roots in the ethnocentrism of the First World War European historiography. According to this historiography, the German-French front is the most important place of the war. Hence, all the other fronts turn out to be marginalised, including the other European fronts. Stressing this point, I call into question not only the spatial dimension of the conflict, but also the temporal one. How to deny, for example, that the World War I could have begun when Italy invaded Tripolitania and Cyrenaica? How to forget the Ottoman-Italian war, in 1911, or the Balkan wars in 1912, where all the protagonists of the following WWI were ready to enter a larger theatre of conflict in 1914?  A most truthful perspective may be opened if we consider a unique historical continuum starting from 1911. It would be a pity for the scientific community not to take advantage of the opportunity offered by the centenary, to keep the memory of the Great War in Europe alive, but also to revise other important aspects of this crucial event such as, for example, the chronology of the conflict.

"Great War – Piave and Isonzo: soldiers at the front". Images from the exhibition

We would like to thank once again Sergio Tazzer, president of CEDOS, for sharing with us the below images that people can still see in the exhibition we already mentioned a couple of weeks ago in this post

 Austrian soldiers walk across the Grave di Papadopoli (also known as Papadopoli Island)

 Col di Lana, Austrian prisoners

 Friuli area, soldiers are going to be shot

 Italian reserves on their way to the front

 Men at work on a road, Basso Piave

 Soldiers on the Monte Tomba, besides Monte Grappa

 Soligobahn - small Austrian railway in the occupied territories near the Piave river

 The road running from Castelcucco to Possagno - on the background, Monte Grappa

Wounded soldiers in the railay station in Bassano del Grappa

The poets and the world war: “La guerre au Luxembourg” (“The War in the Luxembourg”) by Blaise Cendrars

Blaise Cendrars (1887 - 1961)
La Main coupée (“The Bloody Hand”) remains today a prominent novel among the books we inherited from the First World War, but we are not allowed to forget that Blaise Cendrars lent his name to a long poem that still today is a vivid example of what we could call his “amputated literature”. La guerre au Luxembourg (“The War in the Luxembourg”) is the poem he wrote in October 1916 after having lost his right hand in September 1915. Upon closer inspection this poem represents the first piece of literature he wrote after the injury and, unlike the aforementioned more popular novel that was published only after the end of the Second World War in 1946, this poem was published already during the war, in 1916, by Daniel Niestlé in 1,000 copies (with six drawings of Moïse Kisling, who volunteered and was injured like Cendrars during the combats of the Champagne offensive). Today the readers can easily find it in Du monde entier au cœur du monde. Poésies completes (“Complete Poems”, see the edition translated by Ron Padgett and with the foreword by Jay Bochner in the catalogue of University of California Press).

This poem is able to open a new chapter that touches delicately the world of infants and of their games in war time. Cendrars has just been wounded and brings his sons to the Parisian Luxembourg Garden where he finds some children playing war. The starting point and the headway of this poem is the contrast between the recent war experience of the poet and the ironical way of portraying the kids playing in the Luxembourg Garden. For each reader the strong impression is probably given by the strange contrast between the awareness of war and the self awareness of those kids on one side and the awareness of reality of battlefields where Blaise Cendrars was just wounded on the other side. Great example of his cubist poetry, “The War in the Luxembourg”, arrives as a sharp arrow to our ears. We invite you to read and discover these verses
at this link or in the above mentioned publication. Only a few words about the artist who lent his art to the first edition of this poem. Moïse Kisling is a Polish painter naturalized French in 1915. The analogies with Cendrars are evident: they were not born in France (Cendrars was born in La Chaux-de-Fonds in Switzerland), they became French later, they both fought in the French army and got seriously wounded. In the image you see one of the drawings that this Polish-French artist (made famous by the portraits Amedeo Modigliani dedicated to him) created to insert into the sounds and pass through the vibrant images of Cendrars.


A page of the poem with the illustration of Moïse Kisling

"Great War – Piave and Isonzo: soldiers at the front". A new photography exhibition

Austrian soldiers walk across the Grave di Papadopoli
The CEDOS (Centre of historical research on the Great War) of San Polo di Piave is a small but lively cultural association that promotes studies and events around the legacy of the Great War with a strong focus on photography. The Centre was in fact established in conjunction with the donation by Eugenio Bucciol of an important collection of WWI pictures with the intent to preserve and valorize this visual material. Bucciol, who is still active member of the CEDOS, lived for a long period in Vienna, where he collected in the city war archive a series of photos taken by the Austrian Army when it occupied Friuli and part of Veneto after the rout of Caporetto. A selection of these images are now at the centre of a new exhibition which celebrates the soldiers’ life at the front.

Two rivers mark the virtual contours of the exhibition, the Isonzo – which actually traced the front line as soon as Italy entered the WWI in 1915 – and the Piave – where after the rout of Caporetto the Austrian advance and the Italian retreat came to a precarious equilibrium of forces in autumn-winter 1917. Most of the 143 photos on display were shot on the battle fields and in the Italian territories occupied by the Austrian Army and depict the multifarious situations of the everyday life of these places at those years. Of course the bitter logic of the war comes to light, with its trenches, battles, wounded and fighting soldiers, with its strategic plans and the works behind the front lines. But also the local population is not neglected: the exhibition commemorates the suffering and the famine, the hard work and the despair that the civilians had to endure. Finally the – sometimes fierce, sometimes serene – interaction between these two worlds is depicted in the photos.

The exhibition “Grande Guerra. Isonzo e Piave: soldati al fronte” was opened on last 13th December and will run till 11th January 2015. You can visit it in San Polo di Piave from Thursday to Saturday 15.00-19.00 and on Sundays already from 09.30. Further information here.

(We thank the President of CEDOS, Sergio Tazzer, who sent us some photos to share with our readers in the coming days on a dedicated post.)

"Je sors enfin du Bois de la Gruerie": a sort of poetical manifesto by Jacques Darras

Contemporary poetry on World War I is not at all a paradox. We have already suggested – and we will keep on offering – poems by contemporary authors dealing with the cultural and human legacy of the Great War: they prove that we can – and we should – be still personally involved in the living remembrance of this common past. However the new work by the multiple-prize-winning French poet, writer and translator Jacques Darras succeed in bringing us perhaps a step further than a “simple” living remembrance. With its long poem entitled Je sors enfin du Bois de la Gruerie (Editions Arfuyen, 2014) he offers a “prismatic” composition, which discloses to the reader different accesses to the Great War and he relates this multiplicity to a beating heart at its centre. It is not easy to do justice to this work in a short review, but we’d like to discuss at least some central features of Darras’ long poem in order to stress its importance in indicating a new and fruitful attitude toward the Great War.

We may start with some formal and stylistic remarks. The work covers 208 pages and it is organized in 15 chapters. Lyrical compositions, prose texts, short manifestos and (sometimes long) quotations are combined in an amazing structure, in which the rhythm has a central place. A continuous change of register within the work (from the ironical to the polemical, from the narrative to the assertive one) creates a polyphony of attitudes and perspectives, so that the readers cannot be passive, but are forced to enter in a creative relation. Moreover Darras’ mastery in exploiting his "outil-poème" comes to light in the incredible wordplays, neologisms, assonances. One should read aloud to enjoy fully the “Dada aesthetic” of this poem.

Jacques Darras
Je sors enfin du Bois de la Gruerie arises from a biographical event in Darras’ family history. His grandfather died in September 1914 in Bois de la Gruerie, on the western side of the forest of Argonne, in the territories of the Department de la Marne. This wood was the setting of cruel fights from September 1914 up to the autumn 1918 and a large number of remnants are still visible today. Here, few months after the beginning of the conflict  Édouard Darras was hit by a grenade. Only after about a century his grandson returns to these places, walks among the trees and on the today hidden trenches and deals with his domestic memories. Jacques Darras cannot avoid to recognise the deep impact that this event had on his father’s life and, as a consequence, on his own life. He draws so a red line across the decades, across the places and occurrences that tie together his family history. And yet he does not restrict his reasoning and his feelings to this first biographical stage; he uses instead them as a magnifying glass to embrace the collective experience of the Great War: millions of men were killed, millions of women were left alone, and their families, relatives lived their absence. A mass carnage - the personal family fate is part of it. The whole is accessible primarily by its part, by this intimate experience and remembrance. The part, the biographical element gets its true weight and size only within the whole.
Especially in chapter 13th this sense of sharing mournfulness, compassion (in its etymological meaning), real pietas comes to light. But also in chapter 7th – at the centre of the book, as a pivot of this magnificent poetical mechanism – we find crucial passages: Darras first describes – or imagines, but is it so different? – the death of his grandfather, 27 years old, as he was pulverized by the grenade; he then spies out the emptiness left in his life but he finally confesses he cannot tell the death of his grandfather apart from that of the other soldiers: he bears now with him ten thousand dead men in addition to his grandfather, he leaves from the Bois de Gruerie with all the anonymous soldiers who passed away there. And yet Darras’ work avoids all celebratory and heroic attitudes and shows a great justice and composure in dealing with the Great War: an attitude of moderation and tact-, that we should wish to see more and more predominant during the Centenary.

Gruerie wood in 1916
The book can be seen as a report of (and a guide for, since the reader is invited to travel over it again) a journey from oblivion to memory. This is also the meaning of the title: getting out from the Bois de la Gruerie corresponds to break the silence and the forgetfulness of this personal/collective tragedy and enter the living world, to regain full awareness not only of the past events, but also of their effects on the present and even their lesson for the future.  Also from this point of view a personal recollecting the family memories is entangled in the collective tale. A wide collection of voices and records of famous French, English and German authors represents the chorale, which supports Darras’ effort to frame anew and in a clearer way the series of cultural, political and historical events, which lead to the Great War. And being a poet, Darras summons poets and writers of that time up: the Dada poets (much more than the surrealists) and then again Apollinaire, Barbusse, Breton, Céline, Cendrars, and Pierre-Jean Jouve (who actually deserves much more attention than what he usually draws); but also the German voices of Hugo Ball and Erich Maria Remarque, even of Ernst Jünger. And then the author celebrates especially the English War poets: Wilfried Owen, Siegfried Sassoon and Edward Thomas.

Great honour is paid however to a “trio d’intelligence majeure”: Romain Rolland, Stefan Zweig and Sigmund Freud. They raised their voices above the collective madness, they praised the peace and unmasked the subtle mystifications of the “uniformity of the uniforms”, which covered a foreseeable massacre under the ideals of Homeland, Duty even Beauty. It is especially in opposition to the propaganda and the homogenization (and so devastation) of the culture at the beginning of the First World War that the pacifism of authors like Rolland becomes an admonishment and a spur for us, the readers, too. It is about to preserve true critical sense not only towards the opposite pole war/peace, but also and above all toward the rhetorical attitudes and standardised ideas, no matter if in relation to the legacy of the Great War or in relation to the contemporary social and political conflicts in our world, starting from Europe. Here again Darras offers us a great lesson with this book, driving us to deal with our history, to face its problems and to take a position, which always means to act in our life accordingly. Je sors enfin du Bois de la Gruerie is therefore not only an honest tribute to the Great War as both personal and collective history, but also a sort of manifesto for the present and for the future. In this sense we can only wish that this work will reach as many readers as possible, so to really imprint the Centenary.

"I fotografi della Grande Guerra". Czech photographers of the Great War. The exhibition in Milan

Gustav Brož, Polní udírna
It was inaugurated last Thursday at Centro Ceco (Czech Cultural Centre) in Milan a photo exhibition that is going to be open till January 10. The layout offers for the first time the shots of three Czech soldiers equipped with cameras: Gustav Brož, Jan Myšička and Jenda Rajman. This exhibition represents a world preview of these three different collections that have been unseen for decades. All experts agree on the high and relevant value of these images that show somehow three different stories on different fronts of the Great War. The war of Gustav Brož was on the Italian and Russian front, while Jan Myšička collected his pictures on the Hungarian (precisely in Eger) and Italian fronts. Jenda Rajman’s name is connected with the images of the hospital of Podmelec (today Slovenia). Before ending this post with the information and tips to reach this important exhibition in Milan, we wish to give you at least one link related to Gustav Brož from where you may start catching by yourself the incredible prowess of this group of Czech soldiers equipped with cameras.


"I fotografi della Grande Guerra" / “Photographers of the Great War"
From 27 November to 10 January 2015
Opening time: MON-THU 13.00 - 18.00; FRI 10.00 - 16.00;
last Saturday of the month 10.00-17.00.
Free entrance

Czech Centres 2010 - Centro Ceco
Via G.B. Morgagni 20129 Milano
Milano (Italy)
T. +39-02-29411242 | E. ccmilan@czech.cz
Metro line and station: M1, Lima

World War I trenches restored on Colle della Tombola (Susegana, Italy)


View on Castello San Salvatore from the trenches
With the Centenary approaching, old trenches and fortifications systems are slowly surfacing from the abandoned nature. We owe the rediscovery and the promotion of this physical legacy of the Great War to some important actors. Indeed everywhere, especially in Europe, interesting archaeological projects explore the territories and try to uncover forgotten traces of the First World War, to detect possible trenches within the vegetation and to restore them. Some of these projects – for example that of the village of La Boisselle, in the Somme region – have already attracted the attention of the international community and encouraged the cooperation between archaeologists, historians and many other volunteers. But many other maybe smaller, but not less important initiatives are rising around and we’d like today to present one of them.

The Association ArcheoSusegana was founded in 2013 and gathers a group of volunteers with the aim to combine historical research and archaeological restoration of sites (some dating back to the prehistory) and old ruins in the territories of the Collalto, an ancient Italian noble family. The group is based in fact in Susegana, where the Collalto had one of their family castles, the San Salvatore Castle, which was heavily damaged during the Great War by the Italian artillery. The small village of Susegana lies in fact near the river Piave and thus on the Austrian-Hungarian side of the front after the rout of Caporetto. No surprise so if also in these territories forgotten traces of the Great War have surfaced and thanks to the work of ArcheoSusegana we can now visit them.

Walking along the trenches
Architect Michele Potocnik, who supervises the archeological works, told us during an interview how the members of the Association ArcheoSusegana unearthed new trenches on Colle della Tombola, a little hill near the Collalto Castle and about 3 kilometers from the river Piave. On the top of the hill there was a small Austro-Hungarian war village, today traces of about twenty sites can be recognized in this small area. On the northern side of the hill, barracks and storage where probably built as outpost connected to the fortifications on the underlying Ruio valley. On the southern side trenches were dug to connect antiaircraft, artillery and/or observation post. After the restoration works, which combine successfully preservation and rediscovery targets avoiding to restore the ditches in their original depth, we can now walk along the trenches and enter the fortified post. Standing here one could easily observe the Piave and, just behind, the Montello, where the Italian Army was disposed. Today trees screen the vision line, but it is not hard to image what the sentries could see and hear during the final part of the Great War, from autumn 1917 to the end of the conflict. 

The works are still in progress both in uncovering the war traces and in opening passages in the wood to enable visitors to gaze upon the former targets – San Salvatore Castle, the river Piave and the Montello. But ArcheoSusegana has already made safe some sections of the trenches and often organizes guided tours for schools and groups. If you want to visit them, contact the Association using the link above. And for all those interested, yet unable at the moment to travel to Susegana, we suggest to watch the video below and get at least an idea of this interesting and praiseworthy archaeological project. 

A photo reportage about Monte Totoga and its "Stoli"

As integration and completion of the itinerary we offered a couple of weeks ago, we post now a photo reportage related to Monte Totoga and its "Stoli" composed by ten images taken during the day trip there.

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    1 The summit of Monte Totoga from the Gobera Pass
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    2 The entrance of the lower gallery
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    3 Inside, the Stoli
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    4 A room inside the gallery
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    5 View of the Gobbera pass from the Stoli
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    6 Inside the upper gallery
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    7 The information board at the entrance of the upper gallery
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    8 Detail of a artillery post
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    9 Artillery post with view south
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    10 From the summit of Monte Totoga, looking to the Lagorai

Siegfried Sassoon's First World War journals now available online

It’s very common today, in the general excitement for World War One digitization projects springing up like mushrooms, to realize how many diaries were still in chests of drawers or in the attics of Europe. In theory, we should give equal importance and consequently equal attention to the discovery of a new World War One diary belonged to an unknown farmer who lived in the middle of nowhere, somewhere in the Dolomites, and to the unlikely discovery of a forgotten diary belonged to the Italian poet Giuseppe Ungaretti. In other words, what diaries and journals can reveal is not depending on the celebrity of the person they belonged to. This is quite obvious, but it makes sense to stress this point once again before going on.

Notwithstanding what we just stated, we cannot but emphasize the news that recently came from the Cambridge University Library, the institution that conserves the richest collection of Sassoon's manuscripts and archival papers, about the digitization now made available online of “23 of Sassoon's journals from the years 1915-1927 and 1931-1932, and two poetry notebooks from 1916-1918 containing rough drafts and fair copies of his war poems”. And if we all know the poet and his popular memoirs (the “trilogy” composed by Memoirs of a Fox-Hunting Man, Memoirs of an Infantry Officer and Sherston's Progress), it’s meaningful to remember that Siegfried Sassoon kept a diary for the most of his life, so also during peace times. While considering this, the fact of keeping a diary during the war becomes to our eyes a kind of routine activity moved on a new scenario that is not sharing anything with a common "daily routine". Besides this simple realization, we can foresee a mutual exchange between diaries and journals on one side, and poems and autobiographical texts on the other. The benefits of this commendable project and the real pluses of digitization are a new breathing database that allows “the viewer to form a thorough sense of the nature of the physical documents.” For Sassoon the war notebooks are like a comrade and like a friend, where to entrust all aspects of the trench life (drawings, notes, briefs, diagrams, places, poetry, letters). To surf among the pages is really like getting closer and closer to that time; your journey through Siegfried Sassoon’s diaries could start here.

First World War one day itineraries through Italy. Suggestion no. 17: Monte Totoga and its "Stoli"


View on Val Vanoi from the Stoli
The Italian and Austro-Hungarian front line is drawing more and more interest, not only among historians of the First World War, but also among simple visitors and hikers. And yet, some of its sections still remain out of the usual circuits of mass tourism – luckily! – offering so the chance to visit environment in which nature, anthropomorphic interventions and historical memories coexist in a living symbiosis. This is the case of the Primiero and Vanoi Valleys, along which the former front line run (here an overview in Italian and German). As the Great War broke up, being the bulk of the Austrian Army engaged on others fronts and yet mistrusting the Italian ally, the Double Monarchy settled immediately at least a defensive line close to the Lagorai range, up to the Passo Rolle, so to use the natural bastion of mountains between the Fiemme Valley and the Primiero. Especially during the battles in the summer and autumn 1916 the fortifications built on Monte Cauriol, Cima Cece and Colbricon were crucial to stop the adversary and are still today visible. On the other side, the Italian Army, although much more numerous, was forced to build up its assault and defensive lines in a more difficult geographical environment, lacking in natural and solid bastions: a line of advanced posts was formed on Monte Cauriol and on the eastern summit of Monte Colbricon only during the last battles in the 1917; different fortifications, trenches laid instead on the bottom of the Vanoi Valley (Refavaie – Caoria) and then climbed up the opposite range of Mezzogiorno and Valsorda Peaks, reaching then the Calaita pass and the Pale di San Martino. However, the most imposing Italian defensive line was created a little bit behind of this front and included above all the fortifications on Monte Totoga that we suggest to visit with a simple – suitable for all hikers - and short – altogether 4 hours – itinerary.

The entrance to the upper gallery
Starting point is the small hamlet
Gobbera, on the homonymous pass. If you come from Imer you find on your right a small car park, just before entering the hamlet. Park the car there and have a look to the near informative totems. Then walk on and if you need to buy something to eat or drink do it in the local shop in front of the church, since there’s no refreshment on the way. However the itinerary is not so overwhelming, so, if you have water with you, you can also take immediately the path n. 345 just behind the church, walk among the few houses and after running along a small pine grove, take the mule track, which still corresponds to trail n.345. The path is really easy, even if it becomes more and more narrow and stony. During the summer it may be very hot, that’s way we suggest to undertake this itinerary in spring or autumn (in this last case, pay attention to the leaves, they’re very slippery especially on the way down), but the panorama on the Pale di San Martino is really beautiful. At a certain point you find a crossroads: if you walk on the “normal” path, slightly on the left, the excursion would be easier but also longer, that’s why we suggest to take first the small trail on your right, which steeply climbs the slope, reaches the path n.345 again and leads you in short to a small unattended refuge San Gualberto, where you can rest and eat, but only if you’ve taken something with you. Otherwise walk few steps on and visit the near Italian fortifications, whose entrance is on your right. The so called Stoli are wide galleries dug on the limestone of Monte Totoga, as usual with huge openings, meant to enable the positioning of heavy artillery. The galleries are two, placed on different levels (one above the other) to strengthen the fire attacks against the Austrian line, and dominate the Val Vanoi. You can walk in the humid corridors and visit the dark shelters (take a torch with you!) and above all look at the valley below and the small village of Canal San Bovo. After visiting the Stoli, take a short walk on the top of Monte Totoga: near the entrance of the upper gallery, on the right, a really tiny and almost invisible red mark signals the path which runs among the wood and is sometimes very difficult to follow (so, pay attention especially to the red marks on the bark of the trees!). From the summit you can contemplate the Lagorai range and especially the couple Cima d’Asta – Cauriol, looking at each other. The way back follows the ascending path, but you can eventually avoid the steep trail, remain on the path n. 345, walk through the Prà di Totoga – a pasture – and then reach again the Gobbera pass. You can eat and rest here, in the small and nice restaurant of the hamlet, or drive to Canal San Bovo and stop for a rest along the road.

Novels of the Great War: "Drei Kameraden" by Erich Maria Remarque


While examining the First World War literature there are some titles and authors that always emerge, no matter which country you’re from. Remarque’s Im Westen nichts Neues is what we mean by this simple introduction. But one should never forget that the result of the conflict had great echoes on literature also long after the end of the war and relevant impact in the so called Entre-deux-guerres period. And the name of Erich Maria Remarque was not mentioned by chance since today reading suggestion is his novel Drei Kameraden first published in 1936 and written during the exile in Switzerland. This is not a book about the Great War but it’s a novel about what came after it and it’s generated from a kind of ghost image, from a perennial trauma shaping the minds of those who spent the youth buried in the European trenches. This is the reason why we consider for all purposes “Three Comrades” still a World War One novel. On the contrary, we do not consider for instance the recent 14 by Jean Echenoz a World War One novel. The novel by Echenoz represents simply the use of a war subject in today literature and we are able to collect similar examples in comics, arts, films while in Remarque’s case we’re still, with both feet, in the climate originating from the conflict.

We all know about the dreadful economic situation that Germany had to face after the Treaty of Versailles. And the story that Remarque outlines in this book is about three comrades that try to survive among the shocking unemployment, the plague of alcoholism and the rising of new extremisms by opening a garage for car repair in a German city. Robert, the protagonist, falls in love with Patrice, a beautiful and mysterious woman that eventually will fall ill with tuberculosis. This sentiment becomes a kind of handhold in order not to plummet like all the world around him and his two friends, an entire world that is rapidly collapsing into another dark tunnel. Patrice will try uselessly some cures in Switzerland and the three friends will sell their garage and will go to Switzerland in a last desperate attempt to help her to survive. This popular novel still works as a kind of warning for us. What we understand is that a second parallel tragedy flows beside the one occurred in the European trenches between 1914 and 1918: it is the tragedy of the survivors and of their lives fed by internal and continuous flash-backs of death, getting bigger and bigger inside. We can read Drei Kameraden as a cruel persistent image of death (the one of Patrice) after the mass death (in the battlefields), in the scenario of the rising Nazism.