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 concreteness.
BIOGRAFIA
Grazia D’Arienzo è ricercatrice a tempo determinato (tipologia A) in Discipline dello Spettacolo presso l’Università degli Studi di Salerno. Ha pubblicato saggi in volumi e riviste ed è autrice della monografia Renato Carpentieri. L’attore, il regista, il dramaturg (Liguori, 2018). I suoi interessi di ricerca vertono sugli allestimenti delle opere di Samuel Beckett, sulle tangenze fra dispositivo scenico e tecnologia, e sul teatro napoletano contemporaneo.
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