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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 shape of it is pretty much his own. Some people ask me, "Then why are you happy working with him?" Bob demands and allows that lighting be given enough time to happen in a way that isn't true of any other experience. Usually it is just thrown together in the last few days of a rehearsal process. I've gotten very fast and I can get pretty good results. But here we spent about a week and a half just going through the play very, very slowly, setting the lighting for each moment, and no moment was passed over. If the moment wasn't right, Bob had everybody wait until it was right. We would refocus the light, even move the light, recolor the light, whatever. I did a kind of lighting when we put it on the main stage in the workshop last summer, just to get an idea of how we wanted it to look, or not to look. I already knew there was going to be a mountain, a river, and a city of the future. That image is a light box that has a light inside of it and a picture painted on the face of it, painted by Tom Kamm. Some parts of that picture are opaque and others translucent. So you turn on the light in the box and we see the picture. It sits in one of the openings of the mountain. The focus always takes so much longer because it really pushes the equipment . Equipment is not designed to do what Bob Wilson asks it to do. German optics are better. There is less spill outside the beam, shall we say. But even then the edges get sharp. No, I would say that what he asks of equip103 ricnara retuman ment it is simply not designed to do anywhere. He will always be the only one asking the equipment to do that, and equipment is never designed for one person. You could call what he is doing museum quality theatre. Every moment has its own polish and clarity and it is moment to moment. It is striving for a total perfection. Which is, of course, the main reason that I am excited by it. CARL WEBER, MULLER...

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Additional Information

ISSN
1537-9477
Print ISSN
1520-281X
Pages
pp. 103-104
Launched on MUSE
2018-01-03
Open Access
No
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