Categories
n°6 – October 19, Sound

The feminine of vocalism

Conversation by Valentina Valentini with Chiara Guidi

Chiara Guidi, «Fiabe giapponesi», Teatro Comandini di Cesena. Foto di Nicolò Gialain.

ABSTRACT

The conversation between Valentina Valentini and Chiara Guidi is part of a research on “the feminine in vocalization”, a first working out of the subject during a seminary held at Palazzzo delle Esposizioni in Rome in May 2019. This research - concerning a matriarchal, physical sphere of vocalizing – tackles diverse questions: can we develop a feminine in vocalizing? What aspects of vocal expression will it let come out? What figures will it make us meet? What will we listen to? The reasonings in this conversation with Chiara Guidi put us before “organic” and “pregnant” voices, at the same time delineating some procedures of her practices.

This article is available in ITA.

Valentina Valentini
Author

Full professor of Performance Studies and New Media in the Performing Arts Department of the Università "La Sapienza" in Rome, the city's principal university, where she serves as Director of the Centro Teatro Ateneo, a research center on performing arts.

Chiara Guidi
Author

Born in 1960,Chiara Guidi  obtained her art history degree from the University of Bologna. She got her first taste of the stage during secondary school, along with Romeo and Claudia Castellucci. Together, they founded the Societas Raffaello Sanzio in 1981. She has been working there ever since then, dedicating her efforts to the artistic direction of their productions. In addition to writing the scripts of the shows, she manages and directs each actor's vocal career. She therefore participates in all of the company's creations, including Hamlet, La Véhémente Extériorité de la mort d’un mollusque in 1992, L’Orestie une comédie organique? and Buchettino (based on Charles Perrault's Le Petit Poucet) in 1995, Giulio Cesare in 1997, Genesi, from the Museum of Sleep and Voyage au bout de la nuit in 1999, Il Combattimento the following year, a musical by Monteverdi and Scott Gibbons, the contemporary composer who has become a central figure in the company's musical works. 
In 1996, Chiara Guidi founded an experimental theatre school for children in Césène, which she still manages. She wrote two essays and produced two videos on this effort, which earned her the special Ubu prize in 1998. In light of the numerous theoretical works published by the company, Chiara Guidi's writings were published in Ubulibri's 2001 book, Epopea della polvere. 
In 1999, she began a collaboration with Scott Gibbons, which was marked by the creation of a permanent lyrical and vocal creation studio, in the domain of Tragedia Endogonidia, an open representation system that, just like an actual organism, transforms itself over time and according to the geographical path that it takes, assigning an "episode" name during each step of its change. Developed as of 2002, this initiative was rendered possible thanks to a contribution from the European cultural programme. 
The two artists shared the direction of Les Chants cryoniques, a project in which Chiara Guidi was also an actor and which went on tour throughout Europe. In 2002, they were invited to Chicago's CMA in order to present a workshop on voice in tragedy. 
From 2004 on, Chiara Guidi organised a concert, Crescita VIII, in Rome, leading the Venice actors and giving various acting workshops in Tokyo. At the same time, she taught a vocal course at the Comandini Théâtre, which immediately led to the creation of the Madrigale Appena Narrabile show, a musical for sixteen singers and cello players. 
Chiara Guidi, who describes the voice as being a sort of technical writing molecule, experiments with a new genre in order to unite the choir with the musical recital and development. During her career, she embraced every possibility linked to voice: dramatic arts, games, vocal and lyrical writing (polyphonic or monophonic), with or without accompanying instrumentation.