Translating as Artistic Practice-Led Research

What does it mean to move from an open vocal manuscript or an historical text from around 1640s, to a contemporary performance today in the 21st century? What is embedded in the understanding of ‘moving’? Moving from physical matter, to discursive matter, to vocal matter and then eventually arriving in a trust in the material discursive outcome. Could this ‘moving’ be described as a translation process? If so, which are the performative components that become significant in such a ‘moving’ translation process?

I am about to start a phase of the research project GLORIES to NOTHINGNESS, and I start by asking:

What can one learn from an artistic translation process? What is the role of a poem? When is a poem translated into a song, into a voice, into something that truly matters? Is a poem describing a fact? Is a poem performing a sensation? Is a poem a translation in itself? What affects can be found in a poem perceived as an im/ex/pression?

Lets start…

All poems in the volume were dedicated Anna Renzi romana, to her voice, and to her performances on the new public opera-stages in Venice around 1640s.