HARPOEMACTO
HARPOEMACTO seeks to combine poetry with music and performance so it can create an interdisciplinary structure, a harmony and at the same time a tremor, a fission. The harp suggests an odd mood where experimentation has its primordial place as it explores new territories. The voice is also a performative instrument, it looks for a connection not only with the harp, but also with the audience in the form of a ritual. It seeks to join different arts where the viewer uses actively his perceptions, associations, memories and discourse. The “let it flow”, a key element of improvisation, stands out. A personal language is invented, unique and unrepeatable. “Ever tried. Ever failed. No matter. Try again. Fail better” (Beckett). “An encounter between Harp and Voice, the creation of a new language, digging Holes everywhere, whirling minds, a blind shot of awe by change. HARPO MARXS OPERA VERSION.”
“From portuguese surrealism, properly defined as abjectionism in allusion to the rejection of the homeland, Mário Cesariny and António José Fortes
are two long thunderbolts, two futuristic fuses, two never dimmed sparks that walk our mental night of our mental night, our evil, that hideous abisses of mildness habits. Horto de Punhais summons his voices, with Nuno Pinto’s, to express on stage, through the rich association between speech and harp – shouted bard speech, harp the harpoon of sounds -, the unheard of roar that mirrors hollow echoes, mad bonds, deaf dead, perceiving behind, in TV flickering, the explanatory shapes of the disaster, the ruling of the rulers, the amused postmodern people that need, like the mouth needs the bread, a Ubu that burns their minds and gives awards made of the rulers guts.” Julio Henriques.
CREDITS
Harp: Angélica Salvi
Voice: Nuno Marques Pinto
Photos: Francisco Queimadela
Video: Frederico Lobo