Label: Alga Marghen

貴重過ぎる未発表音源集!!過去にArt into Lifeレーベルでも一度再発編集版の申し出を試みた事がある、60年代末〜70年代の旧ユーゴスラビアにて女優および演劇を通して芸術活動を行なっていたKatalin Ladik。音と女性の身体との関係にフォーカスした過激且つ美しい表現を続ける人物で、前作[Phonopoetics]に続き再度イタリアの名門Alga Marghenから初出の音源集第二弾が登場!!とにかく声を軸に据えた音響詩的作風が多く、エレクトロニクス加工を施されたハンガリー民謡や詩の朗読、更には悲鳴、ささやき、チャント、笑い声を重ね合わせた声のアーティファクトなど、この人物でしか表現不可能なサウンドが満載。

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A major part of Katalin Ladik’s work was associated with vocal and instrumental music, although she had no particular music qualifications, nor was she an ‘amateur musician’, but rather a phenomenon of music excesses and voice miracles, combining music, theatre and poetry. Her music essentially addresses relations between sound and woman’s body. It was the music of a female body and its motions, transformation, action and expression: when she produced sounds with her body as a music instrument, playing folk or self-made instruments nude; when she voiced poetry or transformed voice into linguistically inarticulate sounds of phonic poetry; when her voice turned into a scream transforming poetry into acoustic event of music; or when she borrowed her transgressive voice to experimental musicians.

Katalin Ladik pursued her interest in music with the collaboration and life with the composer, musicologist and ethnomusicologist Ernö Király, while working for the Radio Novi Sad. Király developed his unconventional style in a synthesis of Hungarian folklore and free modes of music performance based on the relation composer-performer. Important issue for Ladik was how a woman attained subjectivity – unique feeling of the world – with a voice distinguishing her body as feminine.

The other important context of Ladik’s involvement in music was the contact with the Ensemble Acezantez (Ansambl centra za nove tendencije Zagreb) and the composers Dubravko Detoni, Branimir Sakač and Milko Kelemen. The ensemble was founded in 1970 and lead by Dubravko Detoni. The ensemble focused on combinations of tone and noise, movement, light, acting and pantomime. Katalin Ladik performed with them in 1972 and 1973.