Eurovision, an excess of aesthetes to please at all costs – Corriere.it

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    Eurovision, an excess of aesthetes to please at all costs – Corriere.it

    I don’t know whether to take with me the memory of Marco Mengoni parading at Eurovision 2023 with the Lgbtqia + flag or the Kate Middleton flag: while sitting at the piano, the Princess of Wales performed Stephanie, the song performed by the Ukrainian band Kalush Orchestra, which won last year’s competition. I don’t know why every person, every idea, every song hides behind the “image” it represents: it’s the law of media. Until a few years ago, the Eurovision Song Contest was considered the singing version of the Eurovision Song Contest Games without limitsBut now it’s fashionable. Especially this year it was held in Liverpool (the land of the Beatles) in the United Kingdom, and therefore no longer in Europe, but as if in Ukraine, the country that won the last edition but, for the sake of well-known reasons, could not organize the event. He has something else, more important, to think about, the omnipresent colors of his flag reminiscent of.

    The song is an imaginary space And straight from the title of this event, it is our dream of Europe, a dream betrayed many times and yet powerful enough to unite us in a society measured by stakes. The increase in electronic scenography makes the songs sound more or less the same, as if the visual and scenographic part were more important than the vocals. To use Milan Kundera’s idea, when speaking of Europe, a “kid aesthetic” predominated, in the sense of the word not bad taste, not junk, but the attitude of someone who wants to please at any cost and more people. If we are all the same, if we dream of being a European or international community, it is because we are all “modern” (or at least we try to be) and modernization can only take place in the name of accepting modern clichés. The Eurovision Song Contest is the future of the Sanremo Festival, the day it decides to free itself from the “slavery” of the Ariston Theater (or maybe, who knows, this slavery is its virtue and uniqueness). The Italian audience was able to count on the commentary of Gabrielle Corsi and Mara Maionchi (Princess of Wales), who brought Mongone a lucky charm from her father-in-law.

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