Elisabeth Belgrano

Sweden °1970
en

Elisabeth Belgrano is a voice artist and artistic researcher. Her professional career is characterized by an entangled and diffracted performance practice including the following components and experiences: 17th century vocal music staged as contemporary performance art / recipient of the Noah Greenberg Award from The American Musicological Society in 2005/ warded a PhD in Performance in Theatre and Music Drama in 2011 for her investigation into Performing Nothingness through Mad Scenes and Lamentation in 17th Century Opera, Academy of Music and Drama, Univ. of Gothenburg / supervising and examining in higher art education (performative arts and teachers-training in visual arts and music) / co-directing the Cross-Disciplinary Faculty Group for Performance/Performativity, University of Gothenburg 2013-15 / co-supervising doctoral artistic fellow at Norwegian Academy of Music 2017-2019 / performing research at international symposia and conferences / passionate about paradoxes / loving pedagogical adventures / mad about vocal ornamentation through artistic sensuousness / caring for intra-active encounters / desiring trust through touch...

 

http://konst.gu.se/english/ArtMonitor/dissertations/elisabeth-belgrano)

https://elisabethbelgrano.academia.edu

http://www.elibelgrano.org

 

 



 



 

 


research

CV and Artistic Research Portfolio

RECORDINGS

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works

  • GLORIES to NOTHINGNESS- a performance-installation (05/01/2015)
    Event: Performance, artist(s)/author(s): Elisabeth Belgrano, Björn Ross
    GLORIES TO NOTHINGNESS is an explorative performance-installation part of an artistic research project investigating the performative/transformative act of moving between Vocalizing ≈ Articulating ≈ Mattering ≈ Trusting. Musical fragments composed by Luigi Rossi (c. 1597 – 1653), Claudio Monteverdi (1567-1643) and Francesco Sacrati (1605-1650) are intra-actively diffracted throughout the project. Glories to Nothingness is staged through nine open research laboratories based on Belgrano’s doctoral thesis from 2011, defended at the Academy of Music and Drama, Univ. of Gothenburg. (This dissertation was the first one presented in the newly established academic research field of Performance in Theatre and Music Drama in Sweden). Each open laboratory presents as a ‘spacetime’ always part of other instants and realities. Every movement, utterance and articulation performed within each ‘spacetime’ is consciously 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.
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RESEARCH PROJECTS

  • “LASCIATEMI MORIRE” o farò “La FINTA PAZZA”. Embodying vocal NOTHINGNESS on stage in Italian and French 17th century operatic LAMENTS and MAD SCENE, Dissertation project 2006-2011, PhD in Theatre and Music Drama (Scenisk gestaltning) (2006-2011)
    Degree: Doctorate, Academy of Music and Drama, University of Gothenburg, (Sweden), recipient: Elisabeth Belgrano
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research expositions

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Conferences / Symposia

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lectures / workshops / teaching

NETWORKS

comments

Exposition: ESSAYING ART - AN UNMETHODOLOGICAL METHOD FOR ARTISTIC RESEARCH (03/09/2016) by Emily Huurdeman
Elisabeth Belgrano 06/07/2018 at 09:33

Dear Emily,

Thanks again for an interesting contribution to the field. In a way an attempt to describe a still highly complex academic research field. ... I have for many years tried to break with academic habits and systems. This often leads to mystification,  and comments urging for clarifications and confinements to more academic structures. These are complex comments since the definition of clarification as a term first needs to be discussed. And what is clear and constructive for some is the opposite for others. I like your use of essaying as an method. I am also very curious to know more about 'unmethodology'. I need to read your work with more care, but being in the continuous process of moving between abstract intuitive expression and clarity translated into other forms of expression I approach you with a thought: In the process of essaying there are encounters of various kind. It would be interesting to know from you if these encounters could be cared for more equally in science and art. I have found a lot of 'comfort' in my research while applying a diffractive methdology incl intra-active encounterings. It has allowed for non-liniar and unexpected acts to be performed based on inclusive academic strategies. Have you considered such a methodology in your work on 'essaying'? Thanks again for your contribution!! Eli. Belgrano


Exposition: Musical Source as Part of a Performative Ritual: Crossing borders through Explorative Strategies (06/01/2018) by Elisabeth Belgrano et al.
Elisabeth Belgrano 02/05/2018 at 17:49

Ah ;-) now I see what you did. Isuggest that you enter the command " edit workspace". When in the actual exposition you can add textboxes or any media you like. We can also use sticker.... let me try show...  will add a mssage to you as a yellow sticker....


Exposition: Commentary: Touching Thinking (08/02/2018) by Joa Hug
Elisabeth Belgrano 20/04/2018 at 13:40

Dear Joa,

I am really interested in your work! WIll follow.

Best,

Elisabeth Belgrano


Exposition: Redundant Perception: An Artist's Enquiry (14/09/2017) by Christopher Hollins
Elisabeth Belgrano 25/10/2017 at 10:55

I respond even if I have not read you whole essay. Only parts of it.

I am a singer. Making art that sees no inside or outside.  Art is myself-as-sound. Art in me is perhaps that ' experience of deeper natural form'.  Have you work with voices? Have you explored your art as voice?




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