SOUND THEATRE


 

 

The sound poet can be an uncomfortable ghost only if it’s felt that the recovery of the word is also the recovery of the body, that own immense, not delimited, sprawling (grotesque) body and not only the voice foolishly heart as funnel singing and not as sense’ abyss where the Poet should know descend if he really wants to lose himself (Luigi Pasotelli)

Luigi Pasotelli, last century’s great sound poet, loved to speak about his poetry as “little sound theatres”.

His theatre was independent and sailed along the bounds between different arts.

With shy / bold reverence in living the scene act as sound, delleAli wants to borrow these boundaries, the boundary between performing and acting, in a continuous dialectic with musical and vocal dimension, between the sound sign and the rhythmic gesture… in a vital way.

The actor’s centrality in the performative act distinguishes this form of theater: like a strolling player continues to conceive tensions, believing just like children do, to dramatize them then with irony An ancestral way to mean the fiction.

Shows, performances, readings, artistic installations find each other along a route made by attempts to mean the music (often live music) and theatre (often dead).

Carmelo Bene and Antonin Artaud, masters and mentors, direct that route between stops and turns.

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