Poetry in Performance

Not enough to write books of poetry in performance to be a poet. It is necessary to understand life in another way, the antennas have sharp, alert spirit, helping people to wake up.
These words of Joan Brossa well be applied to the work of Bartolomé Ferrando, a performer and visual poet, that since the 80s is engaged in intense artistic activity and teaching, overflowing for any critical analysis that seeks to deepen its work .
Author of essays such as “Towards a poetry of doing”, or books “The mobile eye” and “intermediate art” in addition to several recordings and several videos of performance, Bartolomé Ferrando was and is an instigator to a whole poetic , inventor of fascinating heterodoxies in which the text achieves its meaning escape thanks to the action, in which the picture takes its syntax and meaning through language.

Maybe this winter he was referring to the author has arrived, and aged, the words need more than ever hot out of the mouth to contradict and published without printing. There are books that no one has ever taken place in housing, the space occupied for years and was assigned without this fact on record. Tweaking in the books of Ferrando, beyond his native Valencia and in a public library, has some magic occurring not only in this event because someone put a stamp on a paper prepared for this and that has waited a long time in a ritual of silent waiting, also because any book that needed opening for the first time (and literally) is that it hides secrets of reading unreadable.
This was the feeling I had to get my hands PERFORMANCES POETIC released in Alicante in 1988, within which, in addition to the postcards, the only existing text is the manifesto “The performance as a language.” In it, Ferrando outlines what would later become a constant in your work, the internalization, the return to the interior space can not be represented (for the reader-viewer baste). “The performance is a nod. The eye does not laugh, smile, “he says.

Performance by Bartolome Ferrando in Poetry Festival International of Milano, 1984.

Since then it is possible that the theory of poetics and performance exhibited by B. Ferrando in various journals, treaties, conferences and web sites have had some flirtations to other trends (within the heterodoxy that is inherent), but I’d say it’s one of the authors more faithful to their original artistic practice, and more consistent Overall, in the manner seen circumvented these firm principles of authenticity and poetic militancy, so difficult to observe today among young writers that as soon fall into the facility without representation and narrative boundaries.

Poems-wedge were able to break the geography orderly society in which we live, recomposed into pieces for display, language in all its splendor in the creative puzzle. Words that, between two intervals, we jump into his eyes just when we were unprepared, with a view to whisper something of themselves.

Ferrando has exhibited her visual and concrete poetry in performance of various cities in Spain, Italy and France. His performances have traveled halfway across the world. Part of Flatus groups Trio vocis, Worldly Music Workshop and Red, dedicated to developing creative practices that are somewhere between music, poetry in performance art. He is the founder of the magazine poetic text. It is also a professor of performance art and an intermediate in the Faculty of Fine Arts in Valencia. Perhaps it is this last activity the most laudable (in practical sense) because there are many who enter through it headfirst into the world of poetry in performance and visual performance after attending the classes in your subject.