Bosco di segni
This project involves four composers of different geographical origin (north, central and southern Italy, Brazil) who have already worked together in the past. Their aesthetic, although different, are united by the search for a musical writing that aims to make people, whether musicians or listeners, more aware of what is happening around them.
A perception shared by all four composers is the idea that contemporary music is missing, sometimes, a certain propensity to opening and involvement of the listeners.
Hence the decision to propose an "alternative" form of concert compared to the traditional one, integrating the purely musical dimension, a performance dimension, so to speak, of installation and multimedia.
A major focus is definitely the attempt to create an unreleased space of listening, a space that can arouse the listener's curiosity and make him not mere spectator, but "co-creator" together with the musicians who are on the scene. The result, therefore, wants to be a real "human installation" and the concert hall is transformed, so, into a listening room.
Theme through which we decline the whole project is "sensuality".
The challenge is to reconsider the meaning of the term "sensuality" by reducing it to the essential: the essential is the "contact", according to an investigating notion which is interpreted through different sensibilities and different levels of meaning: contact as the original source of sound production, contact with "the other". The audience is guided in the perception of his body through the reference to his own senses and own perception of the body moving in space. Here it becomes essential, in one case, the contact itself with a surface that responds "musically" to the stimulus of the musician, in another there is the allusion to the dance and movement of the body in space, in another the full involvement of all five senses, and again, the expectation of the sound before it manifests, the tension that is created when musician and listener are united in a real listening experience. The sensual connection changes this way to a communicative relationship between musician and listener and the scenic representation thus becomes a "Sensual writing " of this report.
The space of music transcends the music itself and becomes the scene: show.
Half-busts of mannequins and paper surfaces are used to produce sounds. Games of light become an integral part of the musical itself.
The musicians do not just play their instruments, they explore the sonorous reality of the world with the totality of their body, coming in contact with the objects of the scene, a scene that is constructed and transformed over time. It is no longer a piece of music but a performance and a 'multimedia installation.
The project will be articulated in four parts, as many as the composers, lasting 15 minutes each.