by Enrico Pitozzi
Quodlibet Studio
audio track of Ouverture Alcina - lenght 38.49
downloadable zip file: Alcina-MST-320.zip
audio track of Luş - lenght 42.26
downloadable zip file: Lus-MST-320.zip
The Pythagorean term «akousma» has a double meaning. On one hand, it refers to a precept that must be followed and has to be «listened to» beacuse of its truth-value. It can disclose a novel and unexpected view of the world, and its efficacy derives from the sound and the image evoked by the words themselves. Like a magic formula, such a precept originates wonder and disbelief. At the same time, «akousma» also alludes to the way in which sound and voice, especially in contermporary theatre, can create an acoustic ambience to surround the spectator: a space where it is no longer possible to identify the source of the sound.
Starting from this double notion, Enrico Pitozzi discusses the role of voice and sound in theatre work of Ermanna Montanari, composed in collaboration with director Marco Martinelli (with whom she directs the company Teatro delle Albe), electro-acoustic composer Luigi Ceccarelli, and poet Nevio Spadoni. The analysis focuses in particular in the two concert performances Ouverture Alcina (2009) and Luṣ (2015), of which the book contains the text. In this context, «theatre of sound» represents a fundamental concept in contemporary performing arts, as well as in current debate about the role of the «figure» on stage. The last part of the book consist of a conversation with Montanari, Martinelli and Ceccarelli in the form of a Lexicon, which represents a useful tool for understanding the compositional bases of the works considered.
