This essay traces the artistic path of Tam Teatromusica by analysing the actor’s status in their productions. In the company's works, the performer is not playing a role but is a physical presence that acts through the sound of its own carnal and vocal matter and a kinesic-gestural language developed according to the space or in connection with musical instruments or with sound processing technology. Tam's stage practice is based on two fundamental guidelines: the iconic and the phonic sign. The group's aesthetic substratum is guided by the words ‘theatre’ and ‘music’. While ‘theatre’ can be understood etymologically as ‘theatron’, as a place destined for the vision, the second term shows a more complex implication. Music is, in fact, not only a part of the performance as an organised elaboration of sounds but is, upstream, the composing principle that shapes it. Such a dynamic characterises the entire creative repertoire of Tam but is particularly vivid in the deForma project, divided into a series of three productions spanning 2007-2009. In the performances relating to this project, the actors become executors of a sonic materialisation of movement, inventing a phonic alphabet generated from their own physical concreteness
La scrittura fono-iconica del Tam Teatromusica: il progetto deForma (2007-2009)
D'Arienzo Grazia
2022-01-01
Abstract
This essay traces the artistic path of Tam Teatromusica by analysing the actor’s status in their productions. In the company's works, the performer is not playing a role but is a physical presence that acts through the sound of its own carnal and vocal matter and a kinesic-gestural language developed according to the space or in connection with musical instruments or with sound processing technology. Tam's stage practice is based on two fundamental guidelines: the iconic and the phonic sign. The group's aesthetic substratum is guided by the words ‘theatre’ and ‘music’. While ‘theatre’ can be understood etymologically as ‘theatron’, as a place destined for the vision, the second term shows a more complex implication. Music is, in fact, not only a part of the performance as an organised elaboration of sounds but is, upstream, the composing principle that shapes it. Such a dynamic characterises the entire creative repertoire of Tam but is particularly vivid in the deForma project, divided into a series of three productions spanning 2007-2009. In the performances relating to this project, the actors become executors of a sonic materialisation of movement, inventing a phonic alphabet generated from their own physical concretenessI documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
