Like the holy warrior [Joan of Arc] I hear voices. But I only write for these voices. The text—and not only a radiophonic text; all of them, even a poem—never presents itself to me in an abstract, unembodied way, if I may say so, reduced to its nakedness or conceptuality. I never think of an argument or content matter that words, later on, would have to render and carve laboriously. Sarduy Obra completa I, While using at first the saintly Joan of Arc as a context, Sarduy further on explains these powers of the spoken word as an erotic bonding:.
That very particular thing that Roland Barthes called […] the grain of the voice. A texture, an intonation, a roughness, a timbre, an accent: something that unites the body with something else, which at once centers, motivates, and transcends it; something that is like a double of the body and from where the voice transmits toward another sphere, in an echo chamber that is its true spaces, its truth S.
Here, writing seems to be a vocation and an act of seduction, at the same time intimate pleasure and communal call. Queda mucho por descubrir […].
There is still much left to discover …. Both writers associate the voice with what inspires them and thus is at the heart of their subjectivity as creators. In both cases, this inspiration by voices has an embodied and an abstract character at the same time, whereby voices are perceived as more meaningful because embodied, but also as separate from their origin, acousmatic voices indeed. The subject appears to be constituted in this way by the enclosed space of its own consciousness, in relation to other voices that it hears, immaterial and yet bound to the body, relating to others in oblique ways rather than through dialogue.
In introducing new forms of interaction to his radio plays, Sarduy probed into ways of thinking about forms of bodily and linguistic expression that he explored at greater length in his novels.
His characters moved in a sonic space of anonymous voices and sounds that interacted in other than dialogical ways, opening up the word to the sheer materiality of sound and allowing for new kinds of subjectivity and subject interaction. Sarduy then turned the play with very few alterations into the third of his five chapters of De donde son los cantantes. But in Havana she begins to squander money and neglects to honor Afro-Cuban tradition. Miguel Alfonso Pozo Clavelito had become known as an improviser of poetry through several radio shows where he did poetic duels with other radio hosts.
See a Problem?
In this syndicated show, Clavelito improvised answers in prose and verse to the letters written by his listeners. Joachim Schale wrote:.
But I think I understood that it is a Cuban folkloristic representation, which is hard to stage when reduced only to the acoustic. The episodic scenes […] are, if the impression given by this draft is right, full of many details and characters. It would be necessary to tell the author what is possible in a radio play. Also think that such exotic and out of the way subjects cannot be presented without explanations in a form that is limited to the purely acoustic.
But the action should be understandable without further comment. It then compares the play to Greek tragedy, with a pointed conclusion on the absence of gods, whatever their origin:. Certainly, the choir leaders are more chatty, and Grace is fat and greedy, certainly, the Cuban Fates smoke Chesterfield—but here and there the gods are deaf S.
'luz Y Sombra'
Not surprisingly, this part of the play is missing in the novel chapter. In pointing out parallels between Greek tragedy and this play, Sarduy establishes a bridge for educated German listeners of the broadcast that he did not want to offer the Spanish-language readers of the novel. While not obstructing the basic plot, these omissions diverted from one of the main themes of the play, the idea of miscommunication.
Sayings are often used to emphasize generally admitted truths or conventions. Se ve en salchicha. He sees himself as sausage. By not translating the sayings, an underlying theme of the play is buried, namely the idea that language can always only speak through conventions, but that precisely for that reason, sayings and rhetoric, the pitch and intonation with which one speaks, do matter. By the time he finished the complete radio script, Sarduy had clearly understood the basic predicaments of a German radio play in the mids: he used a limited number of characters with distinct voices, only few visual aids, and he made relatively sparse use of sound effects and music.
One theme was the barking of a dog, introduced at the beginning of the play as a metaphor of the difference between being and saying. It was preceded by the ringing of a telephone, announcing the bad news to come. Strikingly, Sarduy chose not to eliminate but rather amplify the staging instructions in De donde son los cantantes. Grito de Dolores. De donde son los cantantes Dolores screams.
The cha-cha-cha begins again. In the brothel next door, Help, Mercy, and Clemency dance it and wave their tresses—slow whirls of flame—patting their lips, biting their fingers, pulling off their cartilage bone neck-laces, breaking off their eyebrows, their faces now quartered, pale masks. From Cuba with a Song In this case, Sarduy increases the role of Auxilio, Socorro, and Clemencia, and he reminds his reader of their transvestite, sometimes prostitute appearance in the other chapters of the novel.
In other occasions, he also adds sound elements. The references to famous jazz figures ask the reader to imagine sounds accompanying the final passages of the novel, setting an atmosphere more than giving a precise indication. By letting the comments on Dolores rather than the action govern the story, he was able to introduce interruptions into his tale that forced listeners to fix their attention on the nature of the conversation itself and less on the content of the story. Sarduy De donde son los cantantes The play ends with the two speakers returning to their argument about whether the life of Dolores is worth telling, and whether it has served a purpose.
Luz en la sombra
They conclude that everything is good for something indeed, but that this something turns out to be nothing S. In the radio play already, one could notice the tendency towards letting an array of commenting voices, sounds and images take over the plot itself. While one might want to think that radio enhances the intimate character of the voice and thus creates an elevated notion of subjectivity, Sarduy emphasizes here the contrary, offering multiple perspectives on Dolores and turning her into a radically incomplete character.
Sarduy also refuses to limit radiophonic devices such as narrative framing and sound effects to the radio; instead he exploits the theatrical possibilities of the radio play and then even exaggerates them in the novel. The spark of a woman never fades in the dark. Every day I realise the importance and relevance of this project.
Every day I understand some issues related to this topic that I had not realised before. I am very excited have the opportunity to participate in a network FOR Women in the lighting industry — to share experiences, inspirations, resources, and to promote our craft as a whole. We are brightness, we are darkness, we are textures, shadows and much more.
Caminho das Índias - Wikipedia
We are women glamorising the light. Light is an Art. Light creates emotions, and as a Lighting Designer you should be part of these positive interactions with the world through Light!
- LApproche (Littérature étrangère) (French Edition);
- The Therapist (A Coffee Time Quick Read - Book 2)!
Today, things have changed. Unfortunately, only a few of them run their own practice or have an important role in Lighting. Cyprus has an average of six hours of bright sunshine per day, even in the middle of the winter. On the contrary, village houses traditionally have been dark refuges with small openings to protect from the burning summer sun and the biting-cold winters. Every day, women would sit outside their front doors absorbing all the light absent inside their homes. They drank coffee, made crochet blankets for their grandchildren and gossiped about everybody who passed through the village.
As in most Mediterranean countries, when electricity and artificial lighting became part of everyday life, people lit theirs homes very brightly. I now know that the atmosphere, apart from the smells of cumin and freshly chopped coriander, had nothing to do with how she used to live as a young girl in her village. Today, we are still trying to find better and smarter ways to light up our homes and streets.
In my career as a lighting designer, I have always been surrounded by female lighting designers. In Denmark, there might be even more female than male lighting designers! The way to see how far we can go in our profession is to push every boundary we meet.