25 MAY 2024
7.30 PM

Untitled Noise / Jacopo Benassi

Rozzo Interplay

live set performance

this performance is one of the winners of the open call focused on the Voice

This performance is one of the winning projects of the Open Call, announced by the Associazione Culturale Dello Scompiglio, for performers, companies and informal groups focused on the “Voice” in all the meanings of the term and in its wider meaning, including metaphorical.

Jacopo Benassi and Untitled Noise (Michele Lombardelli and Luca Scarabelli): artists and musicians who, in different ways, operate between the visual and the sound, intended as autonomous expressions that develop on parallel levels. Despite different research and poetics, their sound production is united by a strong experimentalism and a distant punk-noise matrix, a common need to be in a liminal and fluid territory, without mediation, in a dialogue based on improvisation.

Rozzo Interplay is an action of a free and performative character, in which the different arts brought into play are unified by the pace of Benassi’s “mediatised” voice. Voice, body, gesture, movement, and sound are shaped through interaction. Benassi’s photographic research, activated during the performance and stratified by the sound of Untitled Noise, becomes an active agent, a vehicle of moods and tensions.

The performance will not take place on the stage, but in a direct dialogue of proximity and reciprocity with the spectator, who will be able to move freely, becoming in some way an accomplice to the representation.

Benassi’s voice looks for the sound, enters the sound, destroys the sound and meets it for intimacy, for immersion and emotion. The cacophonous flow of Untitled Noise’s electro-acoustic collage dialogues with Benassi’s impure and instinctual voice. Voice, guitar, synth, and sound drones proceed in disharmonious alternation; each one asserts itself autonomously, as an entity in itself, pure presence in a dialogue that is, in fact, impossible.

The sounds of UN, which are also created using self-built instruments from everyday and reused materials, challenge Benassi’s voice which invades every space, and also through the photography, in a close, head-on relationship with the public.

The structure of UN is characterised by free improvisation, around some modalities that from time to time function like a “compass”, to bring us back to a possible, but not defined, narrative. 

The modalities that are identified become moments of recovery in a semi-defined “score”, determined by the use of some recurring sounds, re-modulated from time to time according to an open improvisation, letting the “sounds” flow according to the modalities and senses linked to the moment.

A primitive performance, which repeats the refrains in a delirious fabulation: the almost intelligible words, the vocalisations, emerge or are destroyed, bouncing as if they were reminiscences that resurface from the unconscious depth, in a crescendo that transforms the performance into a fragment of Beckettian theatre.

The repeated sounds do not manage to recompose themselves, except occasionally, outlining in their chaotic rhythm the voice of a desperate and imaginative energy, which bursts out, overflows entropically in a fleeting and dissonant harmony, for an outcome that is always precarious, yet raw in its authenticity.