Matadero Madrid center for contemporary creation
LIVING ROOM ROOM
Fátima Miranda
Start date
End date
Price
To be confirmed
Format
Venue
Naves Matadero
Nave 10. Sala Max Aub
Institution
As a counterpoint to the invasion of digital technology, of intelligent telephones, apps, computers and all manner of gadgets that electronic music and sound art depend on and whose technological facilities resolve concerts with barely any need for any bodily intervention or gesture, Living Room Room is an intimate and a capella performance art piece cum concert for voice alone.
In it, Fátima Miranda defends the presence and rotundity of ONE single BODY with hardly any wires. Trained muscles (nothing more) sculpting the air with an extended voice, on a register of more than four octaves. Those who listen to Fátima Miranda (Gold Medal for Merit in Fine Arts 2018) say that their imagination whisks them off to Africa, Japan, India, the sea, the jungle, a temple, a market or an electroacoustic music studio. Fleeing from comfortable stereotypes and combining vocal techniques from East and West or of her own invention, Fatima uses her voice as a wind and percussion instrument, with fascinating breath shapes that go far beyond the limits of what is possible, ranging from the most transparent and angelic thread of a voice to the wildest screaming.
Fátima Miranda stands alone on the stage with the tools she has always used: the extended voice, the heritage of the East, the body, onomatopoeia, humour, repetition, space-time... With her intelligible unintelligibility, she turns her back on the tyranny of the canons of beauty of song and word and, it has never been better said, she does entirely her own thing, fearlessly and with no holds barred entering the forest of oralities that still populate it, loaded with phonetic memories that may well predate language, evocative of now extinct codes of communication that nest in the collective unconscious.
In contrast to what is usually understood by culture, Miranda's unclassifiable poetics attain a dimension of modernity in the sense of that which is always contemporary, understood as civilisation
Music, singer -performer-, scenic space: Fátima Miranda
Sound technician: Faustino Rosón
Costumes: Issey Miyake and Tradicional Coreano Lighting: Rosa Ana García Lara
Thanks to: Fundación Dados Negros, Eusebio Calonge and Rafael Mundi
SPANISH PREMIERE
In it, Fátima Miranda defends the presence and rotundity of ONE single BODY with hardly any wires. Trained muscles (nothing more) sculpting the air with an extended voice, on a register of more than four octaves. Those who listen to Fátima Miranda (Gold Medal for Merit in Fine Arts 2018) say that their imagination whisks them off to Africa, Japan, India, the sea, the jungle, a temple, a market or an electroacoustic music studio. Fleeing from comfortable stereotypes and combining vocal techniques from East and West or of her own invention, Fatima uses her voice as a wind and percussion instrument, with fascinating breath shapes that go far beyond the limits of what is possible, ranging from the most transparent and angelic thread of a voice to the wildest screaming.
Fátima Miranda stands alone on the stage with the tools she has always used: the extended voice, the heritage of the East, the body, onomatopoeia, humour, repetition, space-time... With her intelligible unintelligibility, she turns her back on the tyranny of the canons of beauty of song and word and, it has never been better said, she does entirely her own thing, fearlessly and with no holds barred entering the forest of oralities that still populate it, loaded with phonetic memories that may well predate language, evocative of now extinct codes of communication that nest in the collective unconscious.
In contrast to what is usually understood by culture, Miranda's unclassifiable poetics attain a dimension of modernity in the sense of that which is always contemporary, understood as civilisation
Music, singer -performer-, scenic space: Fátima Miranda
Sound technician: Faustino Rosón
Costumes: Issey Miyake and Tradicional Coreano Lighting: Rosa Ana García Lara
Thanks to: Fundación Dados Negros, Eusebio Calonge and Rafael Mundi
SPANISH PREMIERE
