I was able to share my vision of the preferred future for the performance of the work and not a soul in the room threw tomatoes at the artistic idea. This led me to conversations with Michael Mirolla at Guernica and he helped create a meeting with a few good people to generate ideas on funding/sponsorship. On one occasion, he brought an old libretto for me to look at that helped me understand the fusion of self, character, scene, music, and setting in a raw form. He was so gracious in sharing his journey. I designed a series of “frescos” to speak from, considered who the target audience might be, and had several coffees with a baritone opera star on the Canadian scene. The mediate step was to see Polenta performed as an urban opera by a professional troupe. At the time of writing that piece I listened to a lot of hard bop and free jazz as well. I grew up listening to classical music, and both of my parents loved opera. From there, I began to think about dimension in literature, of performance art, of “the garage door as a threshold of stage,” how so many of our narratives are operatic and installations for how we live. The form allowed me to explore deeper relationship aspects of narrative and experience, and there lay the gem of Polenta. The form of acts, scenes, intermissions, curtain calls and surtitles created a beautiful frame and the book practically wrote itself over three months. At the third week mark of writing, it dawned on me that all life is an opera rusticana, and that living is a dialect of love. The basic theme was this notion of a Canadian man marrying into a south-central Italian-Canadian family and slowly becoming immersed into a completely new cultural experience. GC: When I started writing Polenta, I had not conceived of the form. Can you tell us about how you arrived at the idea for this project and how it relates to the form of the work? But it is also installation art, an “urban opera.” You’re asking the reader to enter the opera and become a participant. Il Vagabondo is a libretto based on your novel Polenta at Midnight. Anna van Valkenburg interviewed Glenn Carley for Accenti. Written in libretto form meant to be read as operatic recitative in a style called sing/speak, the book also brings a unique perspective to the Italian-Canadian immigrant experience. We are ranked joint No.1 for divorce and family law in North Yorkshire by Chambers UK and Legal 500.In his new book, Il Vagabondo: An Urban Opera (Guernica 2021), Glenn Carley introduces a new avant-garde genre – literature as installation art. We help clients all over the UK too, so wherever you are and however we can help you, please get in touch to discuss your case. Our expertise in such sensitive and traumatic events makes us one of the leading family law firms in Yorkshire. Anger and fear can be overwhelming emotions and it can take a lot of courage to speak to someone about the ordeal. The Impact of Domestic Violence or AbuseĪt Harrogate Family Law, we understand the physical and psychological impact of domestic violence or abuse. Seeking legal advice early is vital and we will help you every step of the way, no matter how challenging the road ahead may seem. When you contact us, we will make recommendations for how we can make sure you (and your family) are safe and protected. There are different types of injunctions including non-molestation orders which tell the person in question not to hit, threaten, harass or pester you, as well as occupation orders dealing with who is entitled to occupy your home. These include getting an injunction which is a court order that requires someone to do (or not to do) something. There are various steps we can take to protect you. What Do I Do Next?Īre you terrified of your partner and don’t know which way to turn?
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