Teatro Instrumental para percussão solo: experiências de performance inspiradas nas ideias de Antonin Artaud

Abstract

The present study consists on a search for conceptual elements, interpretative tools for the vocal events in the performance of Instrumental Theatre pieces for solo percussion. We found in Antonin Artaud’s writings some approaches for vocal expressiveness, ideas that are in harmony with the indications of the composers prominent in this musical gender. His writings will be the main conceptual foundation as well as the main strategic source for the vocal experiments within this research as well as in the author’s performance development of the pieces Songs I-IX by Stuart Saunders Smith and Toucher by Vinko Globokar. This study contains a brief historical overview of: artistic manifestations in the 20’s, the Instrumental Theatre’s development and it’s consolidation in the 50’s and 60’s. We’ll proceed through Artaud’s writings and it’s repercussion in Theatre, Music and other performative arts. Within Artaud’s work, we’ll highlight his considerations about language, voice, glossolalies and breathing. Also we’ll examine the intersections and possible connections present in the actor’s and musician’s performance and training process as well as the relations between Artaud’s proposal’s and the composers artistic considerations about Instrumental Theatre. To conclude, the author will portray her experience applying these elements in her performance elaboration to the musical works cited above.