Farewell Anthemoessa

In the Fall of 2019, as I was preparing to enter a new chapter of my performance practice that would incorporate my voice, I undertook a research for the writing of a text on voice as concept, and as materiality, through the many layers of mediation that operate on it, as a pretext to trace the genealogy and historical filiations of the woman who sings. Andrea Cavarero, a philosopher who has been interested in a feminist interpretation of the inevitable myth of the siren when entering the vocal sphere, asserts that the later is not only the archetype of the woman who sings, but also the universal archetype of the woman who is free from society’s prescribed roles (Cavarero, 2005). So not only socially free I tell myself, but free from the roles prescribed by nature as well, given its hybrid principle. In For More Than One Voice : Toward a philosophy of Vocal Expression, Cavarero lists the multiple variations of the myth from Antiquity until more recently, consequently exposing the common thread of these permutations which all tend toward a systematic reduction of their field of action, culminating with Kafka’s short novel The silence of the Sirens, in which he strips them from their voices, reducing them to objectification. With that in mind, Farewell Anthemoessa reads as an acoustic overwriting referring loosely to that last myth, mockingly enacted with selected objects such as eye droppers and sour candies, the whole soaked in a deadpan humor ambience alongside a dear collaborator Daniel Barrow. The performance is a premise to a musical \ sound art \ operatic play in the making, in which bleu de minuit my pop music persona plays a character.

 

Publié par

Emilie Roby

Performance et musique.