Word expression and voice performance
by Nicola Frangione
The rediscovery of the value of the body in the voice is not so new, but it allows one to take into consideration, the emotional and expressive aspect of the new Performance/Poetical, together with the evolution of it as far as the contemporary way of thinking and the integration of languages and artistic communication is concerned.
Not much space is given to this wealth of human potentiality, apart from it being transformed into a representation: however it is infiltrating little by little everywhere, through the animation of dynamic groups and the setting up of laboratories (performances, theatre, dance), not to mention the most recent experiments of therapy combined with art, in the form of monologues and performances based on the analysis of one’s self knowledge and of oneself.
Thanks to this wealth of theoretical in depth studies, of aesthetic experiences and of productive laboratories which give shape to my artistic quest: it can be considered sometimes as being totally Art, or as sonorous poetry, phonetic poetry, Action poetry or Performance-Art.
In the last 40 years, thanks to my own work together with the collaboration of many artists on an international level, intense performances and monologues of Action-Voice have been developed and carried out, with the aim of discovering and developing knowledge: deriving from different geographic realities. Moreover these works have been appreciated and represented in different International Festivals of new dramaturgy, visualization, sonority and thought in movement.
This mechanism represents for me, a continuous and progressive awareness and not so much the result of a pre conceived strategy. Since 1973 the events which promote and organize the field of interdisciplinary artistic performances concerning my activity, like at the Art Action Festival of Monza or in other initiatives and shows around the world; these have brought about a growing valorisation of performance-art and a systematic appreciation and more emphasis as far as its development is concerned.
It is a kind of interpersonal communication which brings out first of all, the value of corporality and of the voice. The more one experiments, the more one can appreciate this, in that they bring in novelty and meaningfulness.
One cannot expect to explain and justify everything with only one interpretation. It is necessary to let the imagination run wild, moving towards diversity and mystery. The public can recognise the importance of an existential approach, it can perceive the energy which is transferred and also appreciate the improvised turn of events and spontaneous poetry.
It is based on this, that in my performances the vocal texts can be cut out, stitched on , moved around, making them more open to different meanings as if they were
purely a musical creation. One is not speaking about pieces sung based on the music, but of pieces like eloquent music; a sort of de contextualized work, totally in synergy with the different contexts of meaningful space, which embrace and integrate the vision, the visual and the sonorous in one sole co-text.
Never like in the last ten years, have we realised that there has been such a tremendous delay in the development and the integration of BodyVoice. Art and psychology have had such an indispensable role not only in the understanding, but also in the development of the personality in its entirety. One cannot ignore the body, one’s consciousness and our total space: but this can be obtained only through the re discovery of one’s BodyVoice and one’s gestural expressiveness.
Repossession of Bodyvoice and all those realities which have roots in oneself, deep inside oneself and externally, one can then regain the emotions, the sentiments, the intuitions, the spontaneity. Like when giving birth, the woman, takes possession of her body and completes the cycle of pregnancy, by taking this as a spontaneous comparison, the Bodyvoice is interpreted as a dynamic and vital totality.
We are like a sensitive seismograph: our organism can manifest a state of tension which exalts and at times holds back essential functions which drive it and thus are essential tools for interpersonal communication. One is speaking about going from the system of “having” to the one of “being”, from the body as an object to the lived in body, from the stupefying mode of “appearing” to the stupefying mode of “being”.
In the body which speaks, we are able to slow down the dominance of discursive and abstract logic , we realise that also the voice has its own way of thinking. And in the performance, it is never objective like a machine, however sophisticated it may be: it is the place where it resounds with the body in totality. It is in one’s body and through it that the being perceives the real.
It is starting from the body, that together with the voice one establishes the primordial language, dividing time and space. From this the sonority is born, lives on and expands: to the top, to the bottom, in front, behind, to the left, to the right, first, during and after the performance.
The BodyVoce in movement combines , thought and language modes in a certain way. In order to move and emphasise the richness of the gesture and its founding role of the primary language. Thought in the expression of the voice does not have pure ideas . Every conscience is gestural, every judgment is interaction.
In the being, the intellect acts on the senses, the reality affects its body and it intervenes in the reality marking it with the expressive force of the totality of its being. Each phrase in every interaction is continuously vibrating from one to the other of those numerous emotional irradiations which are termed and called emotions or “motions” emerging from deep down.
Listening to our body or the one of others help the being of our desire, to be able to understand and build bonds of communication. The experiences of the body are always involved in a kind of interpersonal communication, even when they are denied or forced.
Our voice provides our body with a textual individuality of experience and shows that the perception of itself is changing : it is not easy to foresee if these elements of evolution will disappear in the attempt to recover the path individually collective growth, with a view to greater creativity and poetic autonomy and opening up towards others. We must be on our guard.
Monza – January 2010