Eunoia 2.0 - Prostitution of Stories
Project
Eunoia 2.0 - Prostitution of Stories
It is a live music and dance performance. - Prostitution of stories - is a multidisciplinary story that reflects on the veracity of the stories built around the person and art of several female composers. This performance fuses music, literature and dance, and constitutes an hour-long show.
The story is a semantic construction that becomes through words. In no case are the things themselves, but communicating through words establishes a reflection of these things trying to build a truth.
It is vital to understand that stories do not have to be true, but are inventions that end up becoming the truth of lies. Why is it important to make this point? Because it is a fact that the stories that have been told about different women artists have been created and standardized from a male perspective and in a specific time, being represented mostly in a way that does not correspond to them.
The performance will be in itself an amalgam of the three realities that define her figure: her art as the most authentic representation of her self, the stories that are configured about them and that are nothing more than the reflection of the opinion of the person who writes, it and the figure that results from this process of deformation and that comes to us as an altered reality.
Interviews:
For this show, a selection of female composers of the past and of the present is made for one reason: we only have access to information about female composers of the past through the writings of others. The historian offers an interpretation of the composer's knowledgeable reality and through words creates his own historical truth, which is also the one that is maintained over time. This project questions these historical truths and works from the only possible reality: her music. By contacting current composers and conducting interviews this interpretative effect disappears, since their stories, their figure and their art are shown and described by themselves; providing a truthful and accessible database to anyone interested in knowing them. The composers interviewed for this project are:
- Negin Zomorodi: https://neginzomorodi.com/
- Maja Ratkje: https://ratkje.no/contact/
- Agnes Ida Pettersen: https://agnesidapettersen.com/
- Helena Cánovas Parés: https://www.hcanovaspares.com/
- Riikka Talvitie: https://www.riikkatalvitie.com/
For this show, a selection of female composers of the past and of the present is made for one reason: we only have access to information about female composers of the past through the writings of others. The historian offers an interpretation of the composer's knowledgeable reality and through words creates his own historical truth, which is also the one that is maintained over time. This project questions these historical truths and works from the only possible reality: her music. By contacting current composers and conducting interviews this interpretative effect disappears, since their stories, their figure and their art are shown and described by themselves; providing a truthful and accessible database to anyone interested in knowing them. The composers interviewed for this project are:
- Negin Zomorodi: https://neginzomorodi.com/
- Maja Ratkje: https://ratkje.no/contact/
- Agnes Ida Pettersen: https://agnesidapettersen.com/
- Helena Cánovas Parés: https://www.hcanovaspares.com/
- Riikka Talvitie: https://www.riikkatalvitie.com/
POEM:
What's the difference?
I take a look at myself
as if I were someone else.
Who am I?
I am
I’m in disguise,
I fit in,
but what's wrong?
By doing, I realized
that I was an abettor,
and I began to seek,
with you
from me.
I am no longer who I was
at the start
of these lines,
I know.
Nevertheless,
I carry on.
Until it is not necessary.
Until your voice
joins
these verses.
What's the difference?
I take a look at myself
as if I were someone else.
Who am I?
I am
I’m in disguise,
I fit in,
but what's wrong?
By doing, I realized
that I was an abettor,
and I began to seek,
with you
from me.
I am no longer who I was
at the start
of these lines,
I know.
Nevertheless,
I carry on.
Until it is not necessary.
Until your voice
joins
these verses.