“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th Century Operatic Laments and Mad Scenes

Belgrano, Elisabeth

“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th Century Operatic Laments and Mad Scenes

	Belgrano, Elisabeth
	2011-05-16T17:28:04Z
	2011-05-16T17:28:04Z
	2011-05-16
	A DVD is a part of the thesis. Here you can see six of the films: ACT I scene 1 DEIDAMIA scene 2 OTTAVIA ACT II scene 1 ARIANNA scene 2 ARIANE ACT III scene 1 ARMIDE (1664) scene 2 ARMIDE (1686)	sv
	This music research drama thesis explores and presents a singer’s artistic research process from the first meeting with a musical score until the first steps of the performance on stage. The aim has been to define and formulate an understanding in sound as well as in words around the concept of pure voice in relation to the performance of 17th century vocal music from a 21st century singer’s practice-based perspective with reference to theories on nothingness, the role of the 17th century female singer, ornamentation (over-vocalization) and the singing of the nightingale. !e music selected for this project is a series of lamentations and mad scenes from Italian and French 17th century music dramas and operas allowing for deeper investigation of differences and similarities in vocal expression between these two cultural styles. The thesis is presented in three parts: a Libretto, a performance of the libretto (DVD) and a Cannocchiale (that is, a text following the contents of the Libretto). In the libretto the Singer’s immediate inner images, based on close reading of the musical score have been formulated and performed in words, but also recorded and documented in sound and visual format, as presented in the performance on the DVD. In the Cannocchiale, the inner images of the Singer’s encounter with the score have been observed, explored, questioned, highlighted and viewed in and from different perspectives. The process of the Singer is embodied throughout the thesis by Mind, Voice and Body, merged in a dialogue with the Chorus of Other, a vast catalogue of practical and theoretical references including an imagined dialogue with two 17th century singers. As a result of this study, textual reflections parallel to vocal experimentation have led to a deeper understanding of the importance of considering the concept of nothingness in relation to Italian 17th century vocal music practice, as suggested in musicology. The concept of je-ne-sais-quoi in relation to the interpretation of French 17th century vocal music, approached from the same performance methodology and perspective as has been done with the Italian vocal music, may provide a novel approach for exploring the complexity involved in the creative process of a performing artist.	sv
	2011-06-01
	Onsdagen den 1 juni 2011, kl 9.30, Lindgrensalen, Högskolan för scen och musik, Artisten, Fågelsången 1, Göteborg	sv
	Academy of Music and Drama ; Högskolan för scen och musik	sv
	KF
	elibelgrano@mac.com	sv
	Göteborgs universitet. Konstnärliga fakulteten	swe
	University of Gothenburg. Faculty of Fine, Applied and Performing Arts	eng
	978-91-978477-4-2
	http://hdl.handle.net/2077/25514
	eng	sv
	ArtMonitor	sv
	25	sv
	voice	sv
	singing	sv
	nothingness	sv
	je-ne-sais-quoi	sv
	17th century opera	sv
	pure voice	sv
	lamentation	sv
	madness	sv
	passions	sv
	emotions	sv
	nightingale	sv
	transformation	sv
	ornamentation	sv
	observation	sv
	improvisation	sv
	interpretation	sv
	vocal expression	sv
	embodiment	sv
	creative process	sv
	performance	sv
	repetition	sv
	movement	sv
	inner images	sv
	artistic research	sv
	“Lasciatemi morire” o farò “La Finta Pazza”: Embodying Vocal Nothingness on Stage in Italian and French 17th Century Operatic Laments and Mad Scenes	sv
	Text
	Doctor of Philosophy	sv
	Doctoral thesis	eng