Editie bilingva„MARGENTO is a caravan, a circus, a symphony, and a brawl.
It is a global, multi-languaged, powerful performance troupe made of more than fifty poets (from Darwish to Ly Doi, Levine to Ng to Oeur) working in a brand-new kind of theater.
And its conductor, impresario, and visionary puppet-master is the brilliant Romanian poet and performer Chris Tanasescu.
In his hands, in his head, and with his orchestration, poetry comes vitally alive in a shared, communal, polyphonic, and charged new way — rich with political aptitude and buzzing with lyrical pizzazz — as it seeks to remember our many origins, roaming on toboggans, fishing boats, and taxicabs alike, and searching for a place for the night.
Songs alongside footnotes, tiny imagist poems loaded like bombs inside rangy prose documents, lyrics within dramatics within call-and-response meta-texts, the four primary “poems” of Nomadosofia cover the globe with poetry that leaps over borders, from erotic to elegiac, holy to profane, formal to wildly improvised, ancient yet as new as the latest zip-drive.
If you want to hear a poetry as representative, as capacious, and as timely as is humanly possible, turn on Nomadosofia and, I predict, soon you’ll be singing along.
Everyone’s welcome.”David Baker„...Ceea ce propune aceasta incercare de jam session poetic este a da nastere unei lumi impreuna, unde poetul sa isi sfarseasca exilul (sau sa-l inceapa).
Dar, dincolo de aceasta intalnire cu Celalalt, ce reuseste Chris Tanasescu sa realizeze prin proiectul sau este o reinterpretare si actualizare a mai vechiului concept de Gesamtkunstwerk, inlocuind „apusul” concept de opera (creatie a unui autor unic) cu cel de dispozitiv informational, unde diferiti autori devin membrii aceleiasi comunitati imaginare: „Ideea e insa nu doar sa furi/ inregistrari, sau doar sa plagiezi/ ci chiar sa creezi dispozitive infor/ matice (ca doar nu inforener/ getice) genetice”.
Cu alte cuvinte, nu numai o parada a formelor si artelor, ci una a spiritelor care le creeaza.
In acest sens trebuie privit si inteles termenul de „graf”, care imprumuta de la cel derridean fascinatia pentru conexiuni nelimitate si proliferare textuala, dar il si depaseste prin relatiile extratextuale pe care le dezvolta si le presupune tehnica de constructie a unei creatii de acest tip (vezi si scrisoarea catre Alec, cat si discutia dintre cei doi).
Aparitia unei astfel de carti este un moment important atat pentru literatura romana, cat si pentru arta, in general.
Sa nu uitam ca ea nu s-a nascut pe un teren gol (amintim aici de Sonia Larian, cu Bietele corpuri, carte pe nedrept marginalizata) si marcheaza un alt mod de a recepta si de a analiza creatia artistica.”Iulia Militaru
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