Glories to Nothingness (last edited: 2017)

Elisabeth Belgrano, Björn Ross (co-author)

About this exposition

GLORIES TO NOTHINGNESS SORROW. MADNESS. NOTHING. A voice. A gesture. A beginning. An experiment. A sketch. A becoming. ... based on the story of a singer’s performance of paradoxes and passions in 17th century Venice. ... based on a singer’s research – performed in the 21st century – about the Art of Performing Everything and Nothing. GLORIES TO NOTHINGNESS is an artistic research project investigating performative acts of moving between Vocalizing ≈ Articulating ≈ Mattering ≈ Trusting. The research question: How to perform trust? Every movement, utterance, projection and articulation is consciously exploring and honoring Nothingness as an idea and a concept much debated at the time when the first public opera productions were performed in Venice around 1640. Based on a performative research approach and new materialist theories, performance acts are methodologically diffracted through musical fragments composed by Luigi Rossi (c. 1597 – 1653), Claudio Monteverdi (1567-1643) and Francesco Sacrati (1605-1650); through selected poems from the volume Le Glorie della signora Anna Renzi romana (Venice, 1641); through thoughts entangled with figures such as RESISTANCE, VULNERABILITY and TRUST; through the practice of exploring force and form as every day performative acts. Elisabeth Belgrano vocal projections / performance Björn Ross visual projections / scenography
typeresearch exposition
keywordsBaroque, Venice, Rome, Madness, Lamentation, Touch, Voice, Vocality, Performativity, Trust, Early opera, Opera, paradox, ornamentation, diffraction, New Materialism, performativity, performativitet nymaterialism
last modified19/12/2017

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