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 at trusting 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 new 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?
These questions have asked by many without doubt. It is naiv to think it otherwise. But my own bodymind needs to move from NOTHINGNESS – from the white empty sheet – following a methodology based on a gathering of fragments, that eventually can help me to reconfigure the effects of moving through the process of voicing and trusting.
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.