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in praise of disorder


There is something of a skeptical respect between the arts; a respect for the work of another over matter one does not master. Composers tend to see and read the world as if they were listening. In Through This Looking Glass (2010), Joana Sá had us reading some of the texts that belong to her world of sounds and to a performance Daniel Neves translated into images – texts and images that baptize the exploration of an enormous musical freedom. Always in search of the liberation, the energy and the surprise of a gesture in sound, In Praise of Disorder is more rigid in form, doing away with image and giving voice to texts by Gonçalo M. Tavares. The speech organizes the thoughts that filter the multiple, disorderly, eccentric, voluble mind. The music is the Praise of Disorder that goes on in our heads, fit to give us back (awkwardly, at times painfully) not only the multiplicity of ideas, images, sounds and even voids, but mostly their simultaneity. That is why Joana Sá, through techniques that once belonged solely to studio settings in concert, uses the recording to put the listener in the place of the pianist, of the composer and of Rosinda Costa, watching, reading and speaking. 

Guilherme Proença

In Praise of Disorder - CD supported by GDA and edited by Shhpuma (October 2013)

In her return to Teatro Maria Matos, pianist Joana Sá debuts In Praise of Disorder, an interior monologue for semi-prepared piano accompanied by an installation of bells and sirens, toy piano, noise boxes, mini-amplifiers, voice and electronics. Drawing closer to instrumental theatre, In Praise of Disorder searches for a musical discourse from which words occasionally burst out. Going beyond the boundaries usually set for a pianist, Joana Sá tries to answer the systems of disorder she creates, imagines and lives through in a musical performance that implies a choreography of actions – in her own words, it’s music to watch, listen to and think about. In this search for the representation of an interior space through musical, textual and visual dimensions, Joana Sá called upon the sensibilities of Gonçalo M. Tavares, Daniel Costa Neves and Pedro Diniz Reis, incorporating their compound voices in the monologue. (Teatro Maria Matos )

music, concept & performance Joana Sá
text * Gonçalo M. Tavares
voice Rosinda Costa
Bells and sirens installation built by Luís José Martins (installation operated by foot pedals simultaneously with piano) 
Noise boxes built by André Castro

video Daniel Costa Neves, Pedro Diniz Reis
light design Daniel Costa Neves & Tela Negra

recorded by Hélder Nelson
mixed by Eduardo Raon
produced by Joana Sá, Luís José Martins and Eduardo Raon
design Luís Henriques
booklet made at ’“O Homem do Saco” by Luís Henriques and Mariana Pinto dos Santos.

* excerpts taken from ‘animalescos’ (Relógio d’Água 2013), ‘O Senhor Swedenborg e as investigações geométricas’ (Caminho 2009) e ‘Uma viagem à Índia’ (Caminho 2010).