calendario eventi  :: 

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16/10/2003

Enzo Minarelli

Knuth Hall, San Francisco

The School of Music & Dance, San Francisco State University in cooperation with Istituto Italiano di Cultura present a performance by Enzo Minarelli, Italian Sound Poet, 1:00 pm, 17 October 2003 in Knuth Hall, Creative Arts Building, San Francisco State University. The performance is open to the public and admission is free. This performance organized by Dr. Dean Suzuki, Associate Professor, Music History.

Minarelli's program will include the following:

Polypoetry 7: 'Coralmente me stesso': Musicamimica Musicamimica, 1.50, 1997

Polypoetry 4: Con Sonanti 5, Monóstico 3,50, Regina 5, Poema 5, 1995, with Video images produced by Centro Video Arte Ferrara

Polipoetry 6: Nordsud&Sudnord 20, 1996, with Video images produced by Centro Video Arte Ferrara

Enzo Minarelli, born in 1951 (graduated in a psycholinguistics thesis at the Venice University) has been involved into the field of poetry and its relationships with tthe sound, the writing, the video since the early Seventies.

He has published many books of poetry, among them 'Poesie Doccaso' (Reggio Emilia,1993) 'Meccanografie' (Udine,1991), 'Poemi Cognomi' (Rome,1988), 'El Poemméxico' (Mexico City 1988), 'Commediarcom' (Naple,1983), 'Multipoesie Melogrammatiche' (Mulino di Bazzano 1981),
Obscuritas Obscenitas' (Mulino di Bazzano 1979).

Several sound editions in records and audiocassettes with collaborations to international radios and tv; in 1983 he founds 3ViTre PAIR Editions of Polypoetry, a record review. His sound poems are currently present in many internationat archives.
He is now directing special Baobab issues about sound poetry in the world. In 1998, it comes out 'Coralmente me stesso,' a CD which assembles his recent sound poetry production.

In 1987 he writes the Manifesto of Polypoetry, an attempt to theorize the live show of sound poetry, his polypoetical events (the Author calls with the label Polypoetry 1, 2, 3, 4, 5, 6,7...) have been performed in Europe, Canada, U.S.A., Mexico, Cuba, Japan and Brazil.

As a videopoet, he has been producing with the Centro Video Arte di Ferrara many videopoems since 1982,and recently some videosoundpoetry installations among them 'The Flag, (1989), 'The Shop, (1991) 'The sky and the earth tell..., (1998) by which he has taken part to European and American festivals. 'Videogrammi,' (1998) is a videocasette which presents his videoworks.
He still directs the Video Sound Poetry Festival, international meeting wholly dedicated to the connections between the video image and the sound of poetry, and Festival di Poesia Sonora, a symposium-festival of polypoetry events, yearly held at DAMS, University of Bologna.

Many one-man shows about the poetry of the image, to be stressed the anthological one-man show at the Museo de Arte Moderna in Zaragoza (Spain) in 1986 and 'Fonografias/Phonografies,' (Galleria Alphacentauri, Parma, 1998). Next to the production of book-objects, the series of picture on canvas called 'Phonographies' represent the central part of his visual reasearch.

He has edited many shows of visual poetry in Italy, ,recently he has been editor of italian selections for the reviews Dimensão (Brazil) and Visible Language (U.S.A.).

He has been 'visiting poet, at thea San Francisco State University, at the University of California in Davies, at the San Jose State University, at the University of California in San Diego, at the San Diego State University, at the Universidad Autonoma in Mexico City, at the Pontificia Università Cattolica in São Paolo in Brazil.

Many critics have been writing about his work, to be pointed out at least, Renato Barilli, Vittorio Fagone, Nicholas Zurbrugg, Dean Suzuki, Larry Wendt and Paul Zumthor.
____________

MANIFESTO OF POLYPOETRY
by
Enzo Minarelli

1 Only the development of the new technologies will mark the progress of sound poetry : the electronic media and the computer are and will be the true protagonists.

2 The object 'langauge' must be increasingly investigated in its smallest and largest parts : the word, basis of sound experimentation, takes the characters of multi-word, broken into its inner body, restitched at its exterior. The word must be able to free its own manifold sonorities.

3 The exploitation of sound has no limits. It must be carried beyond the border of pure noise, a signifying noise : linguistic and oral ambiguity has a sense only if it completely uses the instrument of the mouth.

4 The recovery of the sense of time (the minute,the second), apart from the laws of harmony and disharmony, because only through editing is the right parameter of synthesis and balance and balance found.

5 Language is rhythm. Tone values are real vectors of meaning : first an act of rationality, then an act of emotion .

6 Polypoetry is devised and realized for the live show; it gives to sound poetry the role of prima donna or starting point to link relations with musicality (accompaniment or rhythmic line), mimicry, movement, and dance (acting or extension or integration of the sound text), image (television or slide projection, picture or installation, by association, explanation or alternative and redundance),light, space,costumes and objects.

Published for the first time in the catalogue Tramesa
d'Art,Valencia,Spain,1987.

Archivio 3ViTre di Polipoesia
Enzo Minarelli
c.p.152 44042 Cento Italia
ph.fax +39.051.901719
cellulare 335.693.4077
email: 3ViTre@iii.it
http://www.iii.it/3vitre

Knuth Hall
1900 Holloway Ave. - Creative Arts Building, San Francisco State University
San Francisco

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