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PHILADELPHO MENEZES SHOWN VIDEOS
FOCAIS
It is a typical sound video-poem. The audio comes from a sound poem
fruit of the distortion of its own vowels, and the image reproduces
out of focus (wherefrom its title "Focali", a fusion of
"vocali" and "fuoco") the stylized outline of
the vowels. Vowels reproduced in a visibly altered way, but always
capable of communicating their meaning; as does the sound which, be
it whispered or prolonged, keeps whole its phonetic load.
Exemplary work of poetic counterpoint, between the sound word and
the image, whereon the phonetic value, vocal as much as oral, always
prevails over the tele-visible aspect, in total harmony with polypoetry’s
theory.
Enzo Minarelli
NOMES
IMPRÓPRIOS
It is a video-poem where sound is the recited sequence of names read
backwards, and therefore brought down to zero in their meaning and
held in derision if not trivialized, while visually the practice of
anihilation is manifested through the construction-destruction mouvement
of the face of some avant-garde numen, famous top-models, the wife’s,
the author him/herself, used as a pause between an upward mouvement
of composition and a downward mouvement of decomposition. In the end,
a weird short circuit is created, shrill because the voice is kept
still and unmoved, reading on backwards in a monotonous key proper
nouns, which thus become "improper"; at the same time that
the ondulating return mouvement ends up by having an hypnotic effect
upon the audience. This equivalence between hypnosis and poetry is
definitely stimulating.
Enzo Minarelli
CANTO
DOS ADOLESCENTES
The video has a deceiving outward appearance, specially when seen
for the first time. It is easy to mistake the simplicity (nakedness,
better) of image and sound treatment with a completely empty idea.
It is not the case. In fact, behind this humble appearance lies the
idea that supports most of the sound work of poetry and of the text
in general: that everyday language may become music, that daily language
has rythm and sound games of which we aren’t fully conscious.
Two female teen-agers place themselves in front of the camera and
begin to talk: they feign a dialogue, because the words they use are
very few. From short sequences, by means of modulations, repetitions,
cuttings, rythm changes and so on, the teen-agers build up a dialogue.
In a way, it is a removal of the foundations of a given sound work
in poetry. And this is why an inattentive spectator could carelessly
turn the page. It achieves -and this is difficult-to make a sound
and video-graphic work subtle.
Eduard Escoffet
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