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- Cyrino, Marina, 1982
(författare)
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An Inexplicable Hunger – flutist)body(flute (dis)encounters
- 2019
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This doctoral research is structured by singular encounters, that happened between 2014 and 2018. Together with a series of collaborators, I have developed a critical and poetic methodology through what I call “mixture”, “contamination” and the practice of “un-goaling”, in which my “flutist-body-flute” relation encounters the practices of other artists. A search for flexible modes of being a flutist, as a way of working around a dominant characteristic of Western musical practices: what I call a fragmented specialisation, or a specialised fragmentation. A flute-body traverses a body-flutist, a pulsating: metamorphosis. A practice of metamorphosis traversed my body-musician. It sowed a fragility, awoke a taste for a creating-in-mixture that also traversed the transverse flute that keeps up with me. It stirred a mixture-experimentation flavour that was already inside, but constrained. It aroused an inexplicable hunger. It taught me how to sustain the time of an estrangement. From the practice of metamorphosis, I imagined a mixture, a “mix-arts” as a method of artistic investigation. I would mix art modalities. I would mix roles: interpretation, improvisation, composition. I would mix “mine” with “yours” through co-creations. I would mix my body with a body-flute until it becomes a “flutist-body-flute” relation. Mixture as method grew out of my growing concern at being an expert at being an excerpt of myself. Without being able to combine the practices that coexisted inside me, almost isolated, I searched for a way to tune out a certain being-flutist, an image-inside that has guided my practices so far. But the mixing did not happen in a random manner: it was guided by encounters. Encounters emerged as method and structure; as a method for finding ways of de-anaesthetise the forces of creating, for finding ways in which artistic creation is guided by a vulnerability to the other as a living presence. The practices of co-creation/composition and performance have been translated into sound/video and written essays, in a process of “deciphering” and “remembering”. Through this method, I claim that each encounter sets the practices that will guide the mixture. These practices are as many as possible encounters, and made sensible to the reader through the present dissertation.
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| 2. |
- Cyrino, Marina, 1982
(författare)
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Singing, Speaking, Composing: Expanding the Flutist’s Field of Activity
- 2014
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Ingår i: Re-thinking analysis and performance - University of London.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Singing, Speaking, Composing: Expanding the Flutist’s Field of Activity Creative collaborative processes between performer and composer affect the practice of musicians and provide an important creative stimulus for the performer. During one year (2012–13), I explored, together with two composers, the creative possibilities of using the flutist’s voice while playing. The outcome was, according to plan, innovative works by my collaborators. However, I found that there was more to develop in that field, and my experiences from the collaboration, as well as my own continued practice, stimulated further musical ideas that finally materialized in the composition of a piece of my own, Old Game (2013), which became an additional method of investigation. The new direction that the project took proved to be a challenge that pushed me beyond my usual comfort line, making me explore and overpass the well-established border between composer and performer in Western art music. One of my goals in composing was to extend the use of the expressive possibilities of the flutist’s voice explored by my collaborators. I focused on the flutist’s singing voice but also on the speaking voice, using excerpts from Samuel Beckett’s Endgame (to which the title of the piece, Old Game, alludes) as basic material. For me as a performer, systematizing and writing down musical ideas in a proper score proved to have great benefits, such as increasing my motivation to explore new techniques, providing a stimulus for artistic experimentation, offering insights into processes of musical notation, and aiding in developing pedagogical tools. The findings indicate that combining the development, practice and analysis of new instrumental techniques with creative processes of collaboration and composition, can yield great benefits for the performer.
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