[clausula.meta .x] I.

 

—

 

ARTISTIC AND CRITICAL PREMISE

 

[clausula.meta.x] begins from the proposition that music theatre is constituted not only by sounds, actions, texts, and images, but also by the procedures, conventions, technologies, institutions, and economies through which those elements become related. Composition, performance, direction, dramaturgy, scenography, technical production, rehearsal, documentation, and mediation are not autonomous domains that later converge. Each organizes conditions of possibility for the others.

 

Artistic inquiry is therefore both analytic and constitutive. The residency asks how materials acquire dramaturgical force; how decisions are negotiated across disciplines; how technologies act within a work; and how production structures enter aesthetic form. It also asks what remains inaudible, invisible, or institutionally unavailable when inherited hierarchies among score, stage, performer, apparatus, and audience are treated as neutral.

 

Participants are encouraged to make the premises of their work explicit. Which bodies, techniques, histories, spaces, technologies, conventions, and resources sustain a project? Which forms of labor remain visible or concealed? How does a composer’s, performer’s, director’s, dramaturg’s, or designer’s position affect what can be proposed, represented, and realized? How are authority, risk, attention, authorship, and responsibility distributed? Which audiences are imagined, addressed, included, or excluded?

 

The program prescribes no common aesthetic, production model, or political position. It establishes an environment in which divergent propositions can be tested and revised. Collaboration is understood neither as compulsory consensus nor as accumulated specialist contributions, but as a negotiated practice accountable to material resistance, collaborators, and contexts.

 

Because the residency connects development with a public festival, participants must consider experimentation and intelligibility. Accessibility is not simplification, and complexity does not justify opacity. Each project should determine how it frames attention, which conventions it activates or refuses, and how audiences are positioned within its perceptual and ethical economy.