video interview by Rafael Paz Parra
After Octavio’s lecture on site specificity, several of us, including from the original workshop, went out for a great Italian dinner. There was much excited discussion of the many projects we are all a part of!
Destino das Oito/Fate at Eight/Schicksal um acht – Chico Mello
Whatch the complete version of Chico Mello`s opera at:
It was a good luck that the festival MaerzMusic had two promising focal points – the human voice and the Brazilian music. Especially in Brazil the experimental and most involved musicians often are getting in touch with popular music. Chico Mello lives in Brazil and in Germany. He created his own style of music theatre. Here he is combining the for the Brazilians very important form of TV soap opera, the „Telenovela“, with Bossa Nova. The result he’s calling TELEBOSSA. His piece, with the title „Destino das Oito/ Fate at Eight“, was first performed in a marvelous light and ironic-imaginative production by Christina Tappe at the Berlin festival MaerzMusik.
The dramatic basis gave the British author Caryl Churchill. On the other side Chico Mello discovered with his own son how important repetitions are for narrating stories.
For this reason Mello was able to reflect in a light and ironic way the stupid and at the same time abysmal rituals of every day rituals, constantly served by TV soap operas.
Musically Mello connected the cool sensuality of Bossa Nova. He permitted the singers and musicians just to use certain notes and rhythms. The result was a sound on the golden mean in-between Alban Berg and Joao Gilberto. Rarely contemporary music theatre as Chico Mellos DESTINO DAS OITO – without falling in cynicism – offers so much ground for laughing and reflection.
Volker Michael, Deutschlandradio Kultur, Berlin
Click to listen the portuguese version of “Lonesome blues” (Hank Williams) interpreted by João Mello (Curitiba)
Contexts: relation to the previous lecture and to the sequence of lectures proposed by the residency at Outpost
a – Homer/classics (references to tradition)
b – Song writing and oral poetry – popular (the contemporary sceene and the environment of the artist)
c – Site specificity (the relations to the space and to the city)-
d – Live memory of comunities – Extended practice (social activism), artistic interventionism
Three topics implied by the title
1 – “Composition and Oral Poetry”
The two vectors of linguistic development, the traditional oposition between erudict and popular culture. erudict classics (canonic texts) – minstrels (moving language and new shapes)
site (language) specificity in poetry (the words under the words and between the words)
the break of sintax through the materiality of the language
references: Saussure – anagrams – Virgil
Freudian analysis of memory, the equivalence of the invertion and oposition
in the non-linear (cronological) aspects of memory and cognition
love – evol
amor – roma
the plastic (visual) aspects of language
2 – overview of the contemporary production of songs in Curitiba, Brazil
historical approach – Tropicalism, Flusser, the brothers Campos, Ezra Pound, translations, Leminski
3 – The creation of circuits and contexts for oral poetry outside of the mainstream of the cultural industry.
The extended presence in LA throughout the residency – the initial map proposed by Ivan Justen Santana – the blog samecity.wordpress.com, the home gatherings, the pubs, the venues
The project subtitle “they live in the samecity though they don´t know about each other” and its processual developments.