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“Alvaro makes neither theatre nor literature, nor cinema, nor music, nor plastic art. He simply makes Alvaroisms. This is also useful for his approach to the first principal material with which he works: language. His preference is, without doubt, French because it makes him feel resolutely alien. And he enjoys this feeling of strangeness to which he gives his voice, gives voice. He also likes the “I” with which he constantly plays, as we can see, for example, in perusing the dedication that he made to himself in the piece “Manuel”: “to myself, because the only time that we spoke of my skill we removed the sk, and left the ill” Teresa Albuquerque | “Alvaro makes neither theatre nor literature, nor cinema, nor music, nor plastic art. He simply makes Alvaroisms. This is also useful for his approach to the first principal material with which he works: language. His preference is, without doubt, French because it makes him feel resolutely alien. And he enjoys this feeling of strangeness to which he gives his voice, gives voice. He also likes the “I” with which he constantly plays, as we can see, for example, in perusing the dedication that he made to himself in the piece “Manuel”: “to myself, because the only time that we spoke of my skill we removed the sk, and left the ill” Teresa Albuquerque | ||
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| + | "Alvaro García de Zúñiga is a musician. This was his origin before transferring from the score to the word. He studied violin with Sergio Prieto and Norbert Brainin. At present he has abandoned chords and his fiddle for words. And for languages, for the possibilities of diverse languages, because there are many tongues at home with Alvaro de Zuniga. He is presently challenging the French language" (Antonio Tabucchi, in NRF nº 569, April 2004) | ||
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Revision as of 16:46, 6 April 2007
About Alvaro:
“Alvaro makes neither theatre nor literature, nor cinema, nor music, nor plastic art. He simply makes Alvaroisms. This is also useful for his approach to the first principal material with which he works: language. His preference is, without doubt, French because it makes him feel resolutely alien. And he enjoys this feeling of strangeness to which he gives his voice, gives voice. He also likes the “I” with which he constantly plays, as we can see, for example, in perusing the dedication that he made to himself in the piece “Manuel”: “to myself, because the only time that we spoke of my skill we removed the sk, and left the ill” Teresa Albuquerque
"Alvaro García de Zúñiga is a musician. This was his origin before transferring from the score to the word. He studied violin with Sergio Prieto and Norbert Brainin. At present he has abandoned chords and his fiddle for words. And for languages, for the possibilities of diverse languages, because there are many tongues at home with Alvaro de Zuniga. He is presently challenging the French language" (Antonio Tabucchi, in NRF nº 569, April 2004)