Felicita Brusoni: Red Carpet.

“Red Carpet“ is a concert for body and voice that, ranging between present and past, investigates forms of EXORCIZATION OF REPRESSION in the Feminine. It starts from a reflection on the politicisation of the private life of the Contemporary Woman, to look for similarities and causes in a past that turns out to be not too distant.

“The feminine” understood as a collective archetype, has ALWAYS had to devise ways and means to manifest itself and survive in its essence. On the "Red Carpet" parade images of women, two but multiple, who embody through the use of the body and multiple vocal techniques, the cries of a "collective trauma", which suffocates the expression of the self, also reopening issues related at the history and memory through connoting pseudo-mythological and lyrical quotations. Body and voice are the protagonists as they are symbols of censorship and expression par excellence and are used as a means of individual exploration and collective expression. On this red carpet, a metaphor for formal public exposure, the singer tries to give voice to those who are told to remain silent and the dancer to give substance to catharsis, in a succession of anarchic fragilities and ferocious desires for survival.

BODY AND VOICE
The matter of the feminine is of the body. Body as a contemporary political manifesto, place of censorship, and rebellion. The dance on the red carpet, mainly entrusted to Valentina's body, is a dance that denounces, a political and at the same time ancestral dance. The body that explores the different aspects of the feminine, experiences different states and asks itself different questions. It is a dance that narrates the body that inhabits it and the relationship with the vision and judgment of others.

The project is also coloured by a sound component, entrusted to the voice of Felicita, a soprano who has her cultural roots in the operatic tradition but who has been dealing with contemporary music and multiple techniques for more than ten years. Leveraging her artistic research on the multifaceted aspects of the human voice, Felicita proposes a sound dramaturgy in which she declines the aspects of the feminine in multiple timbral facets, imitations of everyday life, abstract vocalisations, her own or others' musical traditions, personal reminiscences and other suggestions. The voice is the embodied musical instrument par excellence, and it cannot help but find continuous compromises with the simultaneous use of the body on stage. The one is at the same time inspiration and limit for the other, and vice versa, in a continuous exchange of suggestions to create sound gestures aimed at translating the female universe by exploring within it the folds of the unsaid and the not totally conscious. From the voice of a little girl and the childish melodies left like footprints on the snow of experience, to the analogies with women's voices of the operatic characters, the sound dramaturgy unfolds between multiple semantic levels to offer multiple interpretations, which refer to more than one context. All in an attempt to connect the individual experience into a total one that keeps in consideration the wonderful opportunity of being hosted in a female body.

Watch a short video that was created as an improvisation to work on the project while apart from each other:

Read more about Felicita Brusoni's artistic research at IAC here.