Sara Belo - Academia.edu (original) (raw)
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UERJ - Universidade do Estado do Rio de Janeiro / Rio de Janeiro State University
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Papers by Sara Belo
This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where s... more This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where some vocal performative researches are referred, namely in the show MAGMA (vocal solo) and in the works of vocal research pioneers like Cathy Berberian and Meredith Monk-, but also in the theorization developed by Gilles Deleuze concerning the concept of pre-pictorial, in Gilbert Simondon's theorization concerning the notion of pre-individual and in Eugenio Barba's concerning the pre-expressive. The Pre-Voice as power and sense of the vocal gesture is also still a sound Nothingness that will reveal itself partly in the vocal emission. In the search for a vocality that more directly translates its ontological and singular character, Francis Bacon's painting is taken as a driving force of vocal emergence in the scene, resulting in a distancing from logocentrism and melocentrism, which are commonly considered the main function of the voice.
info:eu-repo/semantics/publishedVersio
Faculdade de Belas-Artes, Universidade de Lisboa, May 1, 2021
Faculdade de Belas-Artes Universidade de Lisboa, May 1, 2021
This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where s... more This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where some vocal performative researches are referred, namely in the show MAGMA (vocal solo) and in the works of vocal research pioneers like Cathy Berberian and Meredith Monk-, but also in the theorization developed by Gilles Deleuze concerning the concept of pre-pictorial, in Gilbert Simondon's theorization concerning the notion of pre-individual and in Eugenio Barba's concerning the pre-expressive. The Pre-Voice as power and sense of the vocal gesture is also still a sound Nothingness that will reveal itself partly in the vocal emission. In the search for a vocality that more directly translates its ontological and singular character, Francis Bacon's painting is taken as a driving force of vocal emergence in the scene, resulting in a distancing from logocentrism and melocentrism, which are commonly considered the main function of the voice.
Eras European Review of Artistic Studies, 2011
The actor's voice can span several usages and orientations. The confrontation of the thoughts of
This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where s... more This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where some vocal performative researches are referred, namely in the show MAGMA (vocal solo) and in the works of vocal research pioneers like Cathy Berberian and Meredith Monk-, but also in the theorization developed by Gilles Deleuze concerning the concept of pre-pictorial, in Gilbert Simondon's theorization concerning the notion of pre-individual and in Eugenio Barba's concerning the pre-expressive. The Pre-Voice as power and sense of the vocal gesture is also still a sound Nothingness that will reveal itself partly in the vocal emission. In the search for a vocality that more directly translates its ontological and singular character, Francis Bacon's painting is taken as a driving force of vocal emergence in the scene, resulting in a distancing from logocentrism and melocentrism, which are commonly considered the main function of the voice.
info:eu-repo/semantics/publishedVersio
Faculdade de Belas-Artes, Universidade de Lisboa, May 1, 2021
Faculdade de Belas-Artes Universidade de Lisboa, May 1, 2021
This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where s... more This article develops the concept of Pre-Voice, anchored not only in an artistic practice-where some vocal performative researches are referred, namely in the show MAGMA (vocal solo) and in the works of vocal research pioneers like Cathy Berberian and Meredith Monk-, but also in the theorization developed by Gilles Deleuze concerning the concept of pre-pictorial, in Gilbert Simondon's theorization concerning the notion of pre-individual and in Eugenio Barba's concerning the pre-expressive. The Pre-Voice as power and sense of the vocal gesture is also still a sound Nothingness that will reveal itself partly in the vocal emission. In the search for a vocality that more directly translates its ontological and singular character, Francis Bacon's painting is taken as a driving force of vocal emergence in the scene, resulting in a distancing from logocentrism and melocentrism, which are commonly considered the main function of the voice.
Eras European Review of Artistic Studies, 2011
The actor's voice can span several usages and orientations. The confrontation of the thoughts of