| 1. |
- Belgrano, Elisabeth, 1970
(författare)
-
An Exhibition of Madness in a Cabinet of Wonders: Results from an Experimental Process Into the Performative Space of a 17th Century Operatic Mad Scene
- 2013
-
Ingår i: Colloquium on Artistic Research in Performing Arts, The Impact of Performance as Research, hosted by the Theatre Academy Helsinki, Finland.
-
Konferensbidrag (refereegranskat)abstract
- As suggested by Schramm (2005) the performative space in the 17th century was considered a scene of knowledge for both artists and scientists. Examples of such scenes were theatres, laboratories, and cabinets of curiosities (kunstkammer, wonder-room), designed as collection rooms ”of the astonishing and the horrible, the wonderful and the strange”. The aim of this performance-presentation is to exhibit a singer’s close reading and experimentation with Deidamia’s mad scene in Francesco Sacrati’s and Giulio Strozzi’s opera La Finta Pazza from 1641. The purpose is to present this mad scene as an example of such a collection of curious wonders, connecting the past with the present, nature with arts, and emphasizing the importance of truly considering the imaginative artistic research process in close connection to historical facts and theories in the production of a 17th century music drama. The presentation provides information from a singer’s close encounters with ’theatrical spaces’ such as Teatro San Cassiano in Venice; a re-created 17th century costume; a libretto and a musical score. As an artistic method, the physical meeting and experience of the theatrical space allows for the performer’s mind to engage in a dialogue with the self but also with others, resulting in a mental transformation of the scene and the stage. This dialogue supplies the performance with an input of analogies representing fast shifting multilayered and inter-subjective movements between realities, revealing the complex structure of the on-going performance activity as well as the complexity beyond the historical material observed from an artistic perspective. This performance-presentation is a vocal solo-exhibition of reflections and acts involved in an artistic research process, showing how the performer’s physical and mental movements can be directly linked with the performative and historical space, thus providing a curious scene of reflections based on the past ”within the Theater of the present, and the future world” Ref. Schramm, Helmar Kunstkammer - Laboratory – Theater in the ‘Theatrum Europaeum’: On the Transformation of Performative Space in the 17th Century, In: Collection – Laboratory – Theater: Scenes of Knowledge in the 17th Century, ed. Helmar Schramm, Ludger Schwarze, Jan Lazardzig, Walter de Guyter, Berlin, 2005
|
|
| 2. |
- Belgrano, Elisabeth, 1970
(författare)
-
Sourcing Madness in a 17th Century Operatic Mad Scene: A Performing Method Exhibiting a Cabinet of Vocal Wonders
- 2013
-
Ingår i: EPARM III (European Platform Artistic Research in Music), Lyon, France.
-
Konferensbidrag (refereegranskat)abstract
- The performative space in the 17th century was considered a scene of knowledge for both artists and scientists. Examples of such scenes were theatres, laboratories, and cabinets of wonders and curiosities designed as collection rooms of the astonishing and the horrible, the wonderful and the strange. This paper presents a singer’s sourcing process into a cabinet of wonders, in the form of a 17th century operatic mad scene. The source for this investigation is the score and the libretto of the Mad Scene of Deidamia from Francesco Sacrati and Giulio Strozzi’s opera “La Finta Pazza” (The feigned mad woman) premiered at Teatro Novissimo in Venice in 1641. The mad scene invites the performer to challenge emotional transformations and shifts of identity. By embodying text and music in a vocal performing process, experiences and encounters of various kinds appear as impulses for reflections on emotional realities linked to the concepts of BEING and NOTHINGNESS. Touch and wonder, activated by the performer in a multi-layered experimental laboratory, introduces sourcing as a performing method as well as an artistic research object. This study presents vocal emotional extremes pulling the mind of the performer out of pretension and falseness. But at the same time, madness is performed and thereby clearly manipulates everybody to strongly believe in whatever truth there is to be observed. This performance-presentation is a vocal solo-exhibition of experiences involved in an artistic research process, thus providing a curious scene of emotions and reflections based on the past within the present and the future world. The exhibition also provides a sample of a vocal performance poetics, eventually to be used for developing a glossary for educational purpose and further research in the field of vocal performance studies.
|
|
