In 1888, Geogina Stirling took to the stages of Europe as Marie Tourlinguet, a stage name taken from the French spelling of Twillingate.
From the paths of Twillingate to the streets of Paris, from church basements to the opera houses of Europe, Marie Tourlinguet sang to the world in a career which spanned two continents and reached into the next century. (courtesy the Twillingate Museum)
The original post included text from the Canadian Encyclopedia that is not entirely accurate. I was corrected by the author of the book you can find at the following link, “The Heart’s Obsession” by Tonia Evans Cianciulli.
This is a recent and complete reflection on Georgina Sterling’s life.
As a side note… this is how I recorded this for the purposes of letting you hear my work in progress.
I have also started piecing together some moving images for projection.
There is a practice to preparing the perfectly tied skate. It is acquired over time and patience; many painful practices and games before getting it close to just right. Every player has a trick of their own, ’cause the fucking things are painful at the best of times. All editorials aside, there is a certain fluidity and tension in those few moments spent getting the blades on the bottoms of your feet.
I am still left rather startled at this /idea/ intruding on me this way. Being present and oddly potent. It all started with a few recordings at a Canadien vs. Toronto game at the Molson Centre in Montréal in 02012. Something in those WAV files infected my imagination.
Once in a while, something falls into my perception that I want to share.