In lieu of an abstract, here is a brief excerpt of the content:

I am attracted to the mask. have a sound. And It Is the Noh plays;all the actors at masks, but In some sense Is a bit likea voice-over. Fo ly see the text, but you caj much space for the listenm our Imaulnatlon. It we taki HANS PETER KUHN, AUDIO ENVIRONMENT I've worked with Wilson since 1978 when I was on the staff of the Schaubuhne in Berlin and he did Death, Destruction and Detroit. I came into this production late, so I was not there when the decisions were made, but I knew that there was no composer involved and that he was going to have something different. He's always trying things to make the pieces different. The new direction Is to use existing material. Usually I propose things and he has some ideas and we try things until we figure out what works. But here I only added a little music and I did this collage in the ritual scene. He only told me that something should happen there, so I chose the music. We used the Mozart Piano Concerto no. 22, a section of the slow movement, as a background for atmosphere in the Prologue , in scene seven, the Walter scene, and in the very end when Alcestis comes back. There is the sustained cello segment from someone in Cambridge , in scene three, also for atmosphere, and the single strings that are plucked-that was Bob's idea. I thought when I came that there would be more music, but he didn't want more, until just about the end, when we did add more. These crows in scene three and scene eight, I have a little trouble with them. We have simple forest birds In scene one and five through eight. I think he wants these because they're in the text. His ideas are often close to the text ... There Is a furnace from the basement near the rehearsal room, he liked that sound. That's the sound you hear at the end that builds and builds and builds. The ritual has eight different tracks of text from the piece (first page of scene four), but you almost can't understand it because it is whispered, 102 then textured differently eight times. There is also the European ambulance sound, the yodel chanting form of African origin, it's just beautiful. The ritual is very ethnologic, so I thought it should have some of these sounds that are ethnologic. i didn't find something I really liked in Greek music, so I decided to take the African music. To me it is not such a big difference because this ritual is not really Greek. For me it's more the feeling of the old sanctification. And then there Is the chanting of the girls, they do it onstage, and on tape so it is double, very high chanting. There is the chest beating, we have that on tape, and a drummer also taken from African music, but it's also very distant, you almost don't hear it. And then there is some shouting of lines from the piece. And the whole thing builds. And the bass line, the synthesizer, a very simple thing that just gives a little bottom to it. The whispers are all very high frequency tones so this just rounds it out. And all this builds over four minutes until the end of the ritual, and then goes down one more time and finishes when they exit. So it starts with the human voice, and moves to a watery sound. The idea was to combine cultural and natural sounds. It has ten different speakers, ten different sources in the building. We did something like it in Cologne on CIVIL warS, but there the intention was more to annoy. Here you get the feeling of being surrounded by something. It's like being prenatal, being surrounded by a womb of sound. JENNIFER TIPTON, LIGHTING First of all, Bob does the lighting. It is his conceptually. That doesn't mean that I don't bring to it as many ideas as I do other productions. I certainly do, but the...

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Additional Information

ISSN
1537-9477
Print ISSN
1520-281X
Pages
pp. 102-103
Launched on MUSE
2018-01-03
Open Access
No
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