No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)

The audiovisual work of collective creation No! Twelve interventions by Argentine artists on a scene by Pina Bausch was coordinated by Marcelo Delgado in 2020 in the context of social isolation due to the Covid–19 pandemic. This case study is particularly complex and can be analyzed from several ang...

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Detalles Bibliográficos
Autor principal: Signorelli, Mariana Lorena
Formato: Artículo revista
Lenguaje:Español
Publicado: Universidad Nacional del Litoral 2025
Materias:
vocalities
affects
politicality
vocalidades
afectos
politicidad
Acceso en línea:https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14488
Aporte de:
Biblioteca Virtual - Publicaciones (UNL) de Universidad Nacional del Litoral
id I26-R133-article-14488
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institution Universidad Nacional del Litoral
institution_str I-26
repository_str R-133
container_title_str Biblioteca Virtual - Publicaciones (UNL)
language Español
format Artículo revista
topic vocalities
affects
politicality
vocalidades
afectos
politicidad
spellingShingle vocalities
affects
politicality
vocalidades
afectos
politicidad
Signorelli, Mariana Lorena
No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)
topic_facet vocalities
affects
politicality
vocalidades
afectos
politicidad
author Signorelli, Mariana Lorena
author_facet Signorelli, Mariana Lorena
author_sort Signorelli, Mariana Lorena
title No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)
title_short No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)
title_full No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)
title_fullStr No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)
title_full_unstemmed No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020)
title_sort no es no. rastros coreográficos y sonidos afectados en la obra no! de marcelo delgado (2020)
description The audiovisual work of collective creation No! Twelve interventions by Argentine artists on a scene by Pina Bausch was coordinated by Marcelo Delgado in 2020 in the context of social isolation due to the Covid–19 pandemic. This case study is particularly complex and can be analyzed from several angles. In this case it is a fragmentation procedure (Bartoszynski, 1998) of a scene extracted from the film Pina by Win Wenders (2011) which is, in turn, a part of the contemporary dance work Kontakthof by Pina Bausch (1978). To this selected fragment, several artists invited by the composer apply a resonorization. They are subsequently disseminated on Youtube and in an Internet blog. This work of resonorizing and integrating in a series of twelve sound interventions gives a new and current meaning to the selected and recontextualized scene, since it allows to make visible and reflect on gender violence. For this reason, this article focuses on the analysis of the performances and the emotional–political meanings constructed from the bodies of the performers who participate in a kind of deferred dialogue with the dancers in the film. This work proposes a hermeneutic–critical analysis of these sound interventions, interweaving categories from critical musicology, gender theories and performance studies, and incorporating theoretical–methodological tools from the affective turn and dance studies to think about contemporary musical practices and their social–historical meaning.  Although there are twelve sonorizations, the analysis focuses on two —Nati Iñón's Nº9 and José Halac's Nº10— which present vocal particularities that favor an interpretation with a gender perspective and that allow us to establish political–cultural links with the emotions embodied in voices and bodies.
publisher Universidad Nacional del Litoral
publishDate 2025
url https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14488
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first_indexed 2025-09-15T05:02:27Z
last_indexed 2025-10-15T05:01:24Z
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spelling I26-R133-article-144882025-09-26T17:37:39Z No es no. Rastros coreográficos y sonidos afectados en la obra No! de Marcelo Delgado (2020) No it is not. Choreographic traces and affected sounds in Marcelo Delgado's No! (2020) Signorelli, Mariana Lorena vocalities affects politicality vocalidades afectos politicidad The audiovisual work of collective creation No! Twelve interventions by Argentine artists on a scene by Pina Bausch was coordinated by Marcelo Delgado in 2020 in the context of social isolation due to the Covid–19 pandemic. This case study is particularly complex and can be analyzed from several angles. In this case it is a fragmentation procedure (Bartoszynski, 1998) of a scene extracted from the film Pina by Win Wenders (2011) which is, in turn, a part of the contemporary dance work Kontakthof by Pina Bausch (1978). To this selected fragment, several artists invited by the composer apply a resonorization. They are subsequently disseminated on Youtube and in an Internet blog. This work of resonorizing and integrating in a series of twelve sound interventions gives a new and current meaning to the selected and recontextualized scene, since it allows to make visible and reflect on gender violence. For this reason, this article focuses on the analysis of the performances and the emotional–political meanings constructed from the bodies of the performers who participate in a kind of deferred dialogue with the dancers in the film. This work proposes a hermeneutic–critical analysis of these sound interventions, interweaving categories from critical musicology, gender theories and performance studies, and incorporating theoretical–methodological tools from the affective turn and dance studies to think about contemporary musical practices and their social–historical meaning.  Although there are twelve sonorizations, the analysis focuses on two —Nati Iñón's Nº9 and José Halac's Nº10— which present vocal particularities that favor an interpretation with a gender perspective and that allow us to establish political–cultural links with the emotions embodied in voices and bodies. La obra audiovisual de creación colectiva No! Doce intervenciones de artistas argentinos sobre una escena de Pina Bausch fue coordinada por Marcelo Delgado en 2020 en el contexto de aislamiento social por la pandemia Covid–19. Este caso de estudio es particularmente complejo y puede analizarse desde varias aristas. En este caso se trata de un procedimiento de fragmentación (Bartoszynski, 1998) de una escena extraída de la película Pina de Win Wenders (2011) que es, a su vez, una parte de la obra de danza contemporánea Kontakthof de Pina Bausch (1978). A dicho fragmento escogido diversos/as artistas convocados/as por el compositor le aplican una resonorización. Las mismas son posteriormente difundidas por Youtube y en un blog de Internet. Dicha labor de resonorizar e integrar en una serie de doce intervenciones sonoras dota de un nuevo y actual significado a la escena seleccionada y recontextualizada puesto que permite visibilizar y reflexionar sobre la violencia de género. Debido a ello, este artículo se centra en el análisis de las performances y de los sentidos emotivo–políticos que construyen desde los cuerpos los/as performers que participan en una especie de diálogo diferido con los bailarines y las bailarinas de la película.  Este trabajo se propone un análisis hermenéutico–crítico de dichas intervenciones sonoras entramando categorías provenientes de la musicología crítica, las teorías de género y los estudios de performance e incorporando herramientas teórico–metodológicas del giro afectivo y de los estudios de danza para pensar las prácticas musicales contemporáneas y su sentido histórico social.  Si bien las sonorizaciones son doce el análisis se enfoca en dos —la Nº9 de Nati Iñón y la Nº10 de José Halac— que presentan particularidades vocales que favorecen una interpretación con perspectiva de género y que permiten entablar vínculos político–culturales con las emociones encarnadas en las voces y en los cuerpos. Universidad Nacional del Litoral 2025-07-04 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf application/zip https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14488 10.14409/rism.2025.27.e0083 Revista del ISM; Vol. 1 No. 27 (2025): Revista del Instituto Superior de Música; e0083 Revista del ISM; Vol. 1 Núm. 27 (2025): Revista del Instituto Superior de Música; e0083 2362-3322 1666-7603 10.14409/rism.2025.27 es https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14488/20301 https://bibliotecavirtual.unl.edu.ar/publicaciones/index.php/index/article/view/14488/20323 Derechos de autor 2025 Mariana Lorena Signorelli https://creativecommons.org/licenses/by/4.0

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