Teatro delle Albe e IRAA Theatre: la relazione corpo/voce e l'amplificazione in scena

Abstract

This paper aims to analyze the relationship between the Voice and the microphone, in relation to the various modalities used, based on the dramatic and performative outcome that needs to be achieved. The analysis will consider the microphone as a physical object, in relation to the scene and the evocative power of the microphone itself. The article will examine two specific case studies: the experiences of Ermanna Montanari and Roberta Bosetti. In both cases, the microphone is used as a kind of magnifying glass, but there is more to that. In the first case, Ermanna Montanari (Teatro delle Albe) creates her sound dramaturgies by highlighting the imperceptible sounds that are emitted unconsciously: such as tongue movements, aspirated or glottal attacks, and all those elements that are part of the “grain of the voice” (R. Barthes). Moreover, Montanari uses the microphone as a symbol, and this is evident in the staging of “The Miser” (2010, directed by Marco Martinelli and Ermanna Montanari). In this show all the characters desire the sceptre of power: the microphone that amplifies “the voice of the master”. With reference to Roberta Bosetti (Cuocolo-Bosetti), it is interesting how the microphone allows her to create an intimate relationship with the audience, as she herself stated. From her point of view, the microphone represents a way to convey Bosetti’s voice directly to the listener’s ear.