The Chord That Dies When it’s Born. Alterity and Ethics on Body without Organs in Jazz Improvisation [Spanish]
Keywords:
Artaud, tropulsion, kinesis, seduction, temporality, theater of crueltyAbstract
We enter these processes of subjectivation in which the jazz musician experiences in himself other forms of corporeality, which are settled between subjection to schemes (Bourdieu) and breakup of the corsets by a theatricality on stage (Artaud). Apparently, in improvisation what is subversive and the reification of the musician as a free author take priority; nevertheless, we empirically observe a plural corporeality that goes beyond the space of the scene and that facilitates that all the actors (musicians, technicians, audience and researchers) take part in the process of creation. We found a solidarity network that continuously displaces the fixed points where music circulates; thus, when a musician is short of breath, his partner takes over. If what is fundamental in the praxis of music is the continuous alternatives it offers, we conclude with an ethical reflection on the transitory nature of music and its kairological temporality, in which the musician, feeling the briefness of the instant of the note that dies when it is born, joins the insignificance of his human condition.
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