Palimpsestos sonoros em Savannah Bay, de Marguerite Duras

This essay aims to propose a reading of Savannah Bay by Marguerite Duras as a spectropoetic, that is, conceived as a way of working the spectral element in its composition by way of specific sonorous and imaging procedures. Guided by sonorous fragmentation, polyphony, vocal and figural duplication, this work would have as its fundamental trait the emphasis on the auditory dimension and the acoustic universe of the operations characteristic of sound media, which would result in the creation of zones of tension between temporality and spatiality, sound matter of words and images. Beyond the semantic layer, the voice is thought not only as the “shock force” of a material object, but also as the place of an absence that in it becomes a presence. This spectropoetics would then be configured as an exercise of vocal experimentation and listening marked by lacunar trait, by reduplications, resonances and mirroring that would characterize the indetermination of absence-presence as a privileged formal procedure of this dramaturgy.