As a puppet, with two threads hanging from the ceiling tied to the wrists. Illuminated in the center of the stage. Veronica Benini thus begins his show at Gerolamo Theater in Milan, dressed in red. Remember the figure that appears on the cover of his book, My favorite position, published by DeAgostini. That is one paper doll, the very popular paper doll in the 1950s. He had movable limb joints. Whoever played with it, writes Benini, could make her assume different postures, “to make her do anything”. The whole book remembers the importance of the opposite. The text traces the career of the author, who wrote in 2019 Life begins where the sofa ends (2019). Here he talked about the sudden change of pace given to his life: from work in the office to Paris to the choice (born of an instinctive need) to live in a Volkswagen van. Born in Buenos Aires and emigrated to Italy at the age of 14, she graduated in Architecture between Florence and the French capital, which he then left. She traveled for a while, then returned to Italy. Now she is a digital entrepreneur and strategic business and communication consultant “For women who want to start over by starting over from empowerment”. Among these, Read Fourthpelle and theEstetistacinica. He directs the training platform Corsetty.it e e is a business and communication consultant. Has estabilished 9 Muse, the event that every year brings self-affirmation and inspiration stories told by other women to an audience of women. Some names of the latest editions: the radio and TV presenter Andrea Delogu and the comic actress Michela Giraud.
The power and the Red thread along the entire 50-minute monologue. Five powers and five themes taken from the book: power over the body, the story, sex, purchase and power itself. Benini mentions them all, focusing on several episodes. There is for example one of the first no, given on a Sunday in October of his second year at university. Barely twenty she faces the owners of the bar where she works as a waitress, who with a ruse want to lower everyone’s wages. But she doesn’t fit in: “At that moment, with that stance with my words, I became an adult ”. There are money, a vehicle of independence and autonomy from which – in a chain – everything else starts. There is motherhood, often used as a key to distinguishing trustworthy women (with children) from unreliable women (without). The all too famous example: there are no doctors or researchers, but ‘mothers’. There are, in short, the prepackaged and rigid roles in which certain fringes of society want to harness women. And there are the answers, the positions free from superstructures that everyone can (and should be free to) assume. On everything a verb acts as a guiding light: do not resist but persist. Benini demonstrates this by recounting a distant scene. His grandmother, who at the beginning of Twentieth century he climbed onto the tables to protest the lack of education among the poor classes. She was the first to reject the postures of others and chose which position to take, like Benini herself, like the Muses and – this is the hope – like many other women.
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