Search

This article deals with the Argentinian musician Adolfo Reisin (1936-2020), a figure still unknown both to the public and the musicological community. The first objective of the article is to go in depth into Reisin's work for theatre in Argentina during the 1960s, where he was part of the movement known as Teatro de los Independientes. A second objective takes into consideration the main international composers that influenced his aesthetic--mainly, Pierre Schaeffer, Luigi Nono and Iannis Xenakis--, and how they contributed to Reisin's particular evolution to collective free improvisation and the experimentation with voice. Reisin's main contribution in this field was the so-called "corporalgestural solfeggio", a technique of his own that involves both artistic, pedagogical and music therapy facets. The study of Adolfo Reisin's aesthetic trajectory is carried out through the analysis of the author's own archival sources (autobiographical documents, press articles and video recordings of some of his music improvisation workshops) as well as personal interviews with him, connecting his career with the work of other free improvisation groups such as the Gruppo di Improvvisazione Nuova Consonanza. The main conclusion of the article is that the kind of improvisation developed by Adolfo Reisin was influenced both by his initial training in musical theatre and by his interest in the renewal of the pedagogical models of music teaching: especially, those aimed at early childhood. [ABSTRACT FROM AUTHOR]

The idea that it is possible to produce new forms of subjectivity, through an intelligent use of expression, has been recurrent in modern and contemporary literature. Fiction, in this sense, has played a central role in the (de)construction of national identities. Even if Borges programmatically took an oppositional stance toward literary commitment, in his youth he saw in art a «political compensatory function» of this type. Namely, he claimed that, in order to escape the political dilemmas which enclose us, literature can help us reinvent ourselves as individual and collective subjects. Using concepts from Deleuze and Foucault, Rancière and Burgoyne, this article tries to analyze that secret political side of Borges as a case study of a wider aspiration of literature to operate as the agency for considering the ways we speak about «I» and «Us». [ABSTRACT FROM AUTHOR]