lucioI'm a psychology student, I graduated a month ago in Psychological sciences and techniques, and I also attended a class in Art therapy this year. About that field of interest I think I'll find interesting the training to sounds and listening that I imagine to be included in the workshop.
I indeed have a good experience as a musician, I played the guitar for seven years now, being especially keen on improvisational music, jazz or not, the composition of soundtracks and the ethnic music, particularly the east-european and middle-eastern ones. From a couple years additionally I'm experimenting around the alternative tuning systems like the just intonation and, in fact, building and modifying musical instruments, towards a timbrical and compositional research outside the usual western coordinates, following the inspired examples of Dante Rosati, Tolgahan Cogulu, Linsey Pollak and others...actually I'm playing quite decently a lot of string instrument (bass, ukulele, oud, mandolin and saz additionally to the guitar) and some wind instruments, with and without reed (like kaval, ney, quena, shakuhachi, clarinet, chalumeau,tin whistle) and a bit of accordion. I indeed have a quite good knowledge of the musical theory and harmony.
I'm absolutely interested in learning as more ways as I can to produce sound, especially acoustic ones, and I expect this workshop to be close with this need of mine.
In fact I think that the concept of patamusic deserves some exploration and experimentation, especially in the modern music culture. A redefinition of the relation inbetween the musician and the instrument, or between the instrument and the sound produced, is in my opinion a potentially useful and surely extra-ordinary experience to be offered.
Again I'm actually a member of a physical theatre association, a fact that, besides connecting once more my interests to the festival, makes me truly interested in every "larger definition of music".
Since like four years ago I use to perform in the summer with some street performances going from the music to the clownerie, which are caracterized obviously by the interaction with the audience, and my little experience made me sure that seeing a musical performance built with found or poor materials is for sure an inspiring and educational experience for both children and adults, truly looking for a new way to perceive music and interact with musicality.
This workshop would absolutely represent for me a useful occasion to get inspired for new ideas and get technical formation at the same time.
Again I attended some classes in sound engineering in 2009 and I also worked in live amplification services, a skill that could be useful in that workshop.
in synthesis, the first time a was told about this workshop I thought it was just painted on me, and as I read more deeply I'm sure it's way close to my personal interests, skills and needs.

Lucio's descriptive Curriculum

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selvaggiaI'm an eclectic artist, born as a street musician but who has expanded her artistic horizons to various disciplines. Actually I am a puppeteer, a costume designer, a set designer and a visual artist.
I also contribute actively to the center of the independent production "l'Asilo", which is a community of workers in the entertainment and immaterial located in Naples, where there is continuous artistic theatrical, musical and visual, and often hosts residencies and artists passing through. ( I tell you about "l'Asilo" because it might be interesting to know Max and his work there too, (through a meeting or a concert or whatever) the interest that would generate is sure.
I think a workshop with an artist of the caliber of Max Vandervost can further expand the boundaries of my artistic research, and I think I can give much in terms of energy exchanges and exchanges of knowledge and skills.

Selvaggia descriptive Curriculum

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lilithI'm interested in this workshop because the last year I've seen the Max Vandervorst's show into the Casa del Teatro, during festival Incanti, and the discovery, the listening and the vision of the instruments used on the stage really enchanted me and all was moving for me.
To be in a position to try his method of work and to interact with his materials would be for me a very good opportunity for training, perfectly right for the professional way I've undertake since some years working especially with the Fabbrica dei Suoni in Venasca (CN), so daily in contact with musical subjects and activities for every audience: from the childhood's school to the third age.
So I'm living my profession and my passion also in musical sphere, but my main interest is in theatre. I start studying for theatre more than ten years ago, and from then on I continue doing and interesting in theatre and in its various forms of expression, moving me more and more, in the time, to the children's theatre and to theatrical, musical, educational and cultural entertainment, maturing now also a certain attention for the educational power of theatre and music, mostly in the schools.
Therefore I'm interested in this workshop because of more reasons: theatrical, musical, educational and practical, in the meaning that I would like to understand how to do the construction and the manipulation of the sound materials that we would have to work, by trying it directly and so to increase the utility of the two books wrote by Max Vandervorst about this subject, with the real experience.

Lilith descriptive Curriculum

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johan sandasI'm not a puppeteer, but I'm very interested in the possibilities of object theater and storytelling. I have a degree in visual arts, but during my studies I got more and more interested in sound as an artistic medium. I work mainly with found objects and primitive sound sculptures, somewhere between noisemakers and musical instruments. Almost all of my work contains an element of play and audience participation. Some examples of my work can be found online at and I'm also attaching a couple of photographs of older installations and more recent performances to the separate CV file. In addition to my instrument building and sound installation practice, I also have a recent interest in the human voice, both singing, speaking and extended techniques.

My grandfather built guitars. That's probably where my interest in making instruments comes from. He built lots of other things too, furniture and houses and things. He didn't exactly teach me how to build anything; he was always too busy doing things himself, and then moving on to the next thing whenever something was finished. But I guess I did learn that things are made by people, that everything that exists somebody built, that I could do it too, it's not hard. And besides I was more interested in stories then, reading stories and trying to write stories. I had an excellent bookcase, my grandfather made it, but I asked him to put some secret drawers in it, and he did, and I kept unfinished stories in the secret drawers and that was the beginning of everything.

Later I grew up and thought I should get a job, so I started to study English, thinking that this would be a good way to do something useful, enhance my career and employability skills, while still reading all the books I could get my hands on. But I stopped writing stories then, and stopped making things, and suddenly I realized I was never doing anything with my hands anymore, I had become a brain in a jar, taking things in but never giving anything out. And the worst thing was that I never really wanted to have a job in the first place.

So I went to art school. I was planning to draw, actually, to tell stories in pictures maybe, but during my second year I went to a contact microphone workshop with German sound artist Florian Tuercke, and since then I've been making contact microphones. A contact microphone can be attached to anything and lets you find out what kinds of sounds there are inside the thing, and that brought me back to building instruments again. Everything's an instrument. It's not hard.

One direction I've been exploring is to not attach the microphones to anything, to just hand them over to audience members and showing them how touching a microphone to anything makes a sound. The audience is an instrument, maybe, or everything's an instrument, or nothing is. What I'm interested in now is going in the other direction, maybe not caring so much about microphones and amplification, and seeing how far just the idea of an instrument can take me. I already know that the audience wants to play along, if I let it. One of the best books I've read is called "What it is", by Lynda Barrie. It's a beautiful book, every page hand drawn. It's about wanting to draw and tell stories and not being able to, and everybody should read it. In the book, she claims that when children play, when nobody is watching and nothing is getting in their way, something plays back. This is what I want to work with now.

I don't know, but maybe this year's Production Incanti Project is about the same thing.

Johan descriptive Curriculum

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loghi 2019

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