THE NARRATOR'S DESK
Adorned on the narrator’s desk are numerous objects that reflect her life, but none of them are truly her own; they are all cherished family heirlooms.
The narrator’s desk was envisioned with an abundance of elements, symbolizing a small and confined writing space where, despite her passion for writing, she never truly finds a personal and spacious place of her own.
To capture this essence, the pages are left intentionally empty, while the surroundings are filled with a nest of familiar objects that act as both a comfort and a barrier. It resembles the ancestral roots of a tree that struggles to grow freely.
Among the objects, there are photographs and postcards discovered in a trunk in Daniela’s cellar (some of which the bearded lady will hold, while the presenter will showcase one on his hat). The desk also holds the 1930s violin and a photo of Mario – Daniela’s maternal grandfather – and Gregorio’s fountain pen, Daniela’s paternal grandfather (his cardboard suitcase and alarm clock will be found later in the contortionist’s room).
Adding to the collection are Daniela’s paternal grandmother’s cherished coffee cup, her father’s Liberty-style candlesticks, and the desk itself, which is a small antique school lectern once owned by Daniela’s maternal aunt. This same desk can also be found in the Illusionist’s kitchen.
Remarkably, there are only a few personal items belonging to Daniela herself. Among them are her notebook, the feather she discovered on Isola Polvese in Lake Trasimeno, and the glass jars filled with seashells collected during her travels in the Caribbean. There is a strong sense of escapism reflected in Daniela’s belongings, echoing the narrator’s yearning for distant lands and new experiences.
THE WARDROBE OF THE NARRATOR
The narrator’s attire consists of oversized men’s clothing deliberately chosen to adhere to the story’s portrayal of her as a young boy of around 14 years old.
A shirt, suspenders, pants, and a newsboy hat create a look reminiscent of the newspaper delivery boys of the 1940s. The newsboy hat, aptly named for its association with young newspaper vendors, was acquired in London.
The shirt from the 1970s belonged to Daniela’s father, while the suspenders are Daniela’s own, and the pants belong to Daniele. All pieces were intentionally oversized, achieving the desired effect of making the narrator appear smaller and younger.
Despite her youth, she opts for masculine clothing for her escape, symbolically discarding her own self. From that point forward, she will embody the emotions of all the characters, including the daunting task of portraying herself.
THE EXTERIOR OF THE CANADA
In the photograph capturing the narrator peering into the caravan, it’s important to note that the caravan itself is a digital creation. Daniele painstakingly designed it in 3D, drawing inspiration from vintage photographs of old caravans used by itinerant circuses.
The small slice of landscape visible in the background behind the caravan is the Murge region, which Daniela captured during her travels.
For those interested in witnessing the process of bringing the caravan to life, we have a video that showcases each step of the 3D modeling process and the precise positioning of Beatrice (our narrator) as she took the photo from inside the digital space.
