GLORIES TO NOTHINGNESS

Elisabeth Belgrano, voice

Björn Ross, scenography

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A voice. A gesture.

A beginning. An experiment. A sketch.

A becoming.

… diffracted through a story of a singer’s performance of paradoxes and passions in mid 17th century Venice…

… diffracted through a singer’s artistic research – performed in the beginning of the 21st century – into/through the Art of Performing Everything and Nothing.

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GLORIES TO NOTHINGNESS is part of an artistic research project investigating the performative/transformative act of moving between Vocalizing ≈ Articulating ≈ Mattering. Musical fragments composed by Luigi Rossi (c. 1597 – 1653), Claudio Monteverdi (1567-1643) and Francesco Sacrati (1605-1650) are intra-actively diffracted throughout the project. Glories to Nothingness is staged as nine open research laboratories based on Belgrano’s doctoral thesis from 2011, defended at the Academy of Music and Drama, Univ. of Gothenburg. (This dissertation was the first one presented in the newly established academic research field of Performance in Theatre and Music Drama in Sweden). Each open laboratory presents as a ‘spacetime’ always part of other instants and realities. Every movement, utterance and articulation performed within each ‘spacetime’ is consciously honoring Nothingness as an idea and a concept much debated at the time when the first public opera productions were performed in Venice around 1640.

The performance act Glories to Nothingness is methodologically diffracted (Barad 2010) through: a vocal reading of a manuscript in Rome around 1640 / a reading of the same musical manuscript in the library of Cardinal Richelieu in Paris after 1640 / vocal readings, performances and recording sessions of the same manuscript in Gothenburg, Paris, Santa Fe, Boston, Seattle, Bloomington and Rome between 2001-2016 / artistic research, performances and articulated fragments on vocal madness, lamentation and nothingness, 2006-2016 / a reading of the volume Le Glorie Del Niente (Glories to Nothingness) from 1634, Biblioteca Nazionale Marciana, Venice, 2009-2010 / a reading of the volume Le glorie della signora Anna Renzi romana from 1641, Venice, 2010-2016 / studies of new materialist theories, 2012-2016/ the everyday practice of exploring force and form as paradoxes, dis/continuities and performative acts as part of Everything and Nothing.

Ref.

Barad, Karen (2010) Quantum Entanglements and Hauntological Relations of Inheritance: Dis/continuities, SpaceTime Enfoldings, and Justice-to-Come, Derrida Today 3.2 (2010): 240–268

DOI: 10.3366/E1754850010000813, Edinburgh University Press, www.eupjournals.com/drt

Belgrano, Elisabeth (2011) “Lasciatemi morire” o faró “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th century Operatic Laments and Mad Scenes, ArtMonitor, Göteborgs universitet http://konst.gu.se/artmonitor/avhandlingar/elisabeth_belgrano

https://gupea.ub.gu.se/handle/2077/25514

Belgrano, Elisabeth (2016) Vocalizing Nothingness: (Re)configuring vocality inside the spacetime of Ottavia, Journal of Interdisciplinary Voice Studies, Vol. 1, Issue 2, pp 183-196

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Lovtal till Intet (Glories to Nothingness) är ett konstnärligt forskningsprojekt. Denna performance akt är det andra öppna performance laboratoriet i en serie av nio. Här plockar rösten upp utspridda fragment från andra rymdstider, förlösande dem genom motsättningar som tillsammans skapar helhet: sporadiska yttranden blir till haranger av förundran, bespottande hat, ömhet, storslagenhet och chiasmatiskt meningsskapande; vetenskap blir till förmåga; veck blir till omfamningar, vågor som aldrig upphör att röra. Rörelser mellan ord och ord, som väggar utan strukturer. Ord som gestaltar, som blir till omfamnande klanger.

De musikaliska fragmenten i akten hämtas från vokala 1600-tals källor av bl a Claudio Monteverdi, Luigi Rossi och Francesco Sacrati, samt från bl a Belgranos avhandling i scenisk gestaltning från 2011.

Projektet bearbetas och presenteras kontinuerligt i den konstnärliga forskningsdatabasen Research Catalogue: https://www.researchcatalogue.net/view/226423/226424

Referenser:

https://gupea.ub.gu.se/handle/2077/25514

Billetter a 80 dkk / stud 50 dkk kan købes i døren.

Feministisk Barok Opera Festival støttes af Statens Kunstfond og Københavns Kommunes Scenekunstudvalg