English version READINGS MANIFESTO 8 novembre 2011 alle ore 17.03 READING’S MANIFESTO READING MANIFESTO 1. Reading is reading- lust of the word- interpretation- tale- novel – poem - singing - narrative - lyrics-song– vocal sound- poetry - diary - letter - notes - anything that can be told- theatre piece- notes- anything that can be told, etc. 2. Reading is the real essence of the word. The content lives again of the emotions of its writer, exasperated word, interpreted, lived by the reader, brought to life again, animated word, called back to life by the book that contains it. Reading is the real power of the theatre essence, the future of the theatre: essential, disarming, synthetic, emphatic or moderate but living, living of the emotional life of the reader. Summary of the cultural background of each interpreter. 3. Reading is the word in music or/and the music of the word. 4. Reading is vocation, since being an interpreter not always means to move and being an actor is not always a means of transmission… but in reading the vocation is essential. 5. Reading is show, staging. 6. Reading can also be the logic evolution that a writer makes on his book. 7. Reading is also vocal performance, and natural expression as well. 8. Reading is concentration of sound- meaning- rhythm- emotionality- technique- production skill- vocal research- artistic research. 9. Reading is a voice that follows music, not only music that follows voice. 10. Reading is breath of the soul (power of the sound and of the meaning). The union between the voice of the narrator and the text creates an “unicum” of emotion which is the power of the sound and of the meaning. It generates transport, a trail of transparent particles, full of strength, of energy…often without either the use of a scenography, or of the body gesticulation. The gesticulation is contained in the power of the voice, in the strength of the sound… because a sound creates images, movements, parallel stories, intentions and forces in the mind. 11. Reading is ”freedom of imagination” since it allows the brain of the spectators to create their parallel stories, to generate brand new stories not being influenced by scenographic images or other suggestions of the stage. 12. Reading is the synthesis of the theatre. 13. Reading is the future of the theatre. 14. Reading is dynamism, linguistic movement, linguistic rhythmicity, where the voice is the centre of the work and the music its pure, original “alter-ego”. 15. Reading is not the short cut to stage, a play without the complication of the scenography. Reading has its own essence that can not be confused with a play. Reading is not afraid of the word, it is not afraid of the linguistic trips like in the theatre and does not fear improvisation. Who practises Reading does not only use the vocal resonators and the tones of the actor but can also use a natural and more rhythmical voice, not artificial, thus creating vocal tones normally not used on stage. 16. Reading is up-to-dateness. 17. Reading is a new form of art, always changing, which is, day by day, gaining ground and more identity in the world of the music and theatre. 18. Reading is universal language.. Addenda The voice has in itself a very important evocative power, it often does not need any real images. The reading rises as pure significant vocality, the real meaning of the word put on stage. The music has in itself basic, unitary contents, yet it is rich of meanings and can travel alone. The approach in fact, starts with the Beat Generation movement. The beat poets approached their grammatical formulation to the “diminished fifth” of the jazz, the evolution which broke off in a dissonant way the “swing” creating the new “Be Bop” movement. After careful consideration, it can be state that there is no great dramaturgical and musical difference between the reading of today and the sacral character that the same old Greek theatre made of the vocality on stage… a kind of musicality expressed through actors, choral dancers and musicians all on stage to create a choral sonorous universe. Nowadays the real evolution of the theatre no longer consists of the debate on the theatre itself, but in a real need of essence, simplicity, an escape from the “too much”, a greater need on behalf of the spectators of intellectual autonomy, of creative autonomy. Nowadays the spectators only look for a “starting-point” to move themselves and no longer need too much elements on stage. The present culture has already formulated an exact operation that is to train the spectator to the maximum means of communication. At the time being everyone has his own definite and complex cultural background. One no longer looks for outside… but inside oneself the mean to find the correct outburst. The Reading is a man for the man, a “face to face”, violent and often forced, but always strong. The music in its full autonomy has its own firmness, its story, its slang, its private exercise to respect, in front of which one must bow as a sign of gratefulness. It does not need nor additions, neither laces, but in this case, going along with the voice of the reader, it gains a unique value, total, that has a seductive power. Usually the actors can not find the way to follow a musician when he is playing, because they do not know how to interact in order to approach their voice to the voice of the instrument to the rhythm of that melody. On the contrary the reading manage to do it, this is why reading is “vocation”; a musical voice is requested to be able to do the real reading, such as for example, many singers and song-writers do. The real theatrical poetry, poetic greatness, is a human being on a stage for human beings. He is alone, with a devoid or almost devoid reading-desk, few underfed sheets, often rubbed, even on one side only, with one or more musicians, maybe even without. He does not need any costume to masquerade himself, nor any make up to hide himself, only voice and often a microphone so that the voice has its recognition, so that it can be heard in its sound details, in the silence of the intervals where only the voices emptiness and the silence of the spectators resound, and in order to be on the same level of the music, since both live the same dimension and have the chance to get in unison and on the same frequency. He is a man in man clothes, his own, the ones he uses in his life, to get on the tram, to go to the shoemaker, to the theatre. He talks about those sheets, he tells the content to everybody wants to listen to him; but he is not an actor and in his own shoes he can not be anybody else than himself and to tell about himself, about his life, through the words he reads. He is alone because he does not have any parachute, only his voice can help him to debate with the thoughts of the spectator, who is there to be amazed, diverted, analysed, protected by a story, by a tale. And the emptiness helps to seal his great enterprise… life for life. Reading has in itself the power to give us the freedom we have always wanted but never found. Reading is syncretism, he has to contain in itself the almightiness of the great tragedy on the emotional level and the linguistic simplicity of a tale for living men with blood that flows fast in the veins. Those who has a deep knowledge of the reading and do exercise it also know the music, the musicians, they love music and the musicality in whatever form it expresses itself… and love to explore new musical forms, new melodies through the improvisation. Since those who practise the reading love improvisation… they often search for it, like the jazz player and make it magic. We are that human being on the stage, with those sheets, and we are waiting for ourselves to achieve the enterprise of communication. SUBSCRIBERS: ELISABETTA FADINI (actress, voice performer, singer and vocal researcher). STEFANO BOLLANI (musician-pianist). PAOLO FRESU (musician-trumpet-player). MAURO ERMANNO GIOVANARDI (singer and sonwriter). FABRIZIO BOSSO (musician-trumpet player). ALESSANDRO BERGONZONI (actor and writer). ELENA LEDDA (singer). DANIELE SCANNAPIECO (musician-saxophonist). ROSARIO GIULIANI (musician-saxophonist). GIANMARIA TESTA (singer and song-writer). ENRICO BRIZZI (writer). GIANNI MAROCCOLO (musician, composer, producer). CRISTIANO GODANO (singer, musician, writer, Marlene Kuntz). manifestodireading
Posted on: Tue, 07 Oct 2014 06:51:27 +0000
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