MEDIATHEK

The music in this ambitious project of sound dramaturgy has an expressive potential which, even if it is implanted in a literary text, goes beyond its meaning and goes beyond it, even the word with which it expresses itself. The soundscape is a swarming of percussion and almost piercing, piercing noises and an uninterrupted river of phrases and phonemes sung in high tones like a convulsive croaking that breaks the semantic unity of the text, safeguarding however the substance that is beyond the flat surface of the words, to get exactly what Varèse called "sound mass" and "organized sound".
 Although the "political parable" of the play written for the occasion by Neziraj -that tells of the frog Fito fleeing from the quiet blue pond in search of the beloved Emma but finds only corruption, violence and persecution, dying and rising continuously until coming back , defeated with language cut off and unable to act and love - already has a broken dramaturgical form, that is interrupted by chorus inserts and narrator considerations or appeals to the public, the music does nothing but "deterritorialize" it continuously.
  The disturbances, the electronic noise, the acute new sounds, the hisses, the prolonged whispering are configured as an extreme attempt to sound the language, to make the human voice resonate between infinite pauses and remote echoes, freeing its sense and its painful materiality.