“I am generally not very interested in creating meaning,” says Øystein Elle, reflecting upon his growing body of work. “Perhaps I don’t understand the concept of it. I am attracted to so-called nonsense because it often appears to me as more real than sense.”
For the past four years, the Norwegian vocalist and performer has been presenting original hybrid performances at a variety of festivals in Stavanger, Oslo, Fredrikstad, and Tokyo under the heading Capto Musicae. Drawing inspiration from concert, theatre, and visual art installation, Elle’s pieces challenge traditional categorization. Often, their ingredients work in creative opposition to one another: film projections framing live performances, abstract movement choreography with improvised vocalization, and pre-recorded “noise” mixing with classical arias. Artistically, Elle appears to revel in the borderland between forms.
“All of the projects are musically driven theatrical pieces, connected to the notion of Composed Theatre,” he explains.
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