In counterpoint to the invasion of digital, smartphones, Apps, computers and gadgets on which electronic music and sound art depend, which almost without the intervention of the body and gesture resolve concerts with technological facilities, Living Room Room is a concert-performance for solo voice, intimate and a cappella, in which the presence and forcefulness of ONE BODY without wires is defended. Muscles trained without anything else, sculpting the air with an extended voice, in a register of more than four octaves, used as a wind and percussion instrument.

On stage, a single voice in symbiosis with a significant poetic, gestural, visual, dramatic and humorous component touches us to the core.

Living Room Room's dramaturgy evolves from contemplative, melancholic, dramatic and ritualistic to a frenetic, fun and somewhat crazy trance environment.

Living Room Room encourages conscious LISTENING and culminates with an improvised section that interacts with the audience and with the sound silence of the place, with its acoustics, with THE NOTE that is unique to each space, with its runrun, always unique and unpredictable, singing in dialogue with the architecture of the place.

The daughter of an ethnominimal sensibility, Fátima Miranda is alone on stage with her usual instruments: the expanded voice, the heritage of the Orient, the body, onomatopoeia, humour, repetition, space-time. With her unintelligible intelligibility, she turns her back on the tyranny of the canons of the beauty of song and word, and places the world on her shoulders, fearlessly entering the forest of oralities that still populate it, laden with phonetic memories, perhaps predating language, evocative of now extinct communication codes that nestle in the collective unconscious.

In contrast to what is usually understood as culture, Miranda's unclassifiable poetics reach a dimension of modernity in the sense of what is always contemporary, understood as civilisation, that is, as that minimum usable part of the immense cultural world.