This blog is an ongoing interrogation of an experimental music theatre project.
The contents of this blog, inlcuding all audio-visual material and its original sources are held under copyright. For more information contact Craig Vear.
Thursday, 25 February 2010
Further Development
The Cape Jeremy Affair
First Public performance
Adelphi Studio Theatre, Salford
Performed by ev2 19-02-2010
1. assess audio library
1.1 The audio library was found to be misrepresentational of the report regarding ratio of sounds mentioned in report. Even though the initial aim was to include the correct ration of wind/ environmental sounds to other or phenomenological sounds, errors crept in during development of the initial test scores. As such from a list of 43 sounds mentioned in the report 27 mentioned the horrendous weather - currently this ratio is 9/23 ... more wind needed will plunder my FI, Icelandic and Antarctic libraries.
1.2 The electroacoustic miniatures were also lacking. Areas for development should include more psychological efefects of the weather, hyper-wind, wind loops, terror and fear.
2. On the visual presentation of CJA as theatre
2.1 Damian's observation of the demo video (second half) being 'ordinary', 'utilitarian' etc described my own feelings when I watched the video back; we want to make sense of what we see with what we hear - what is the importance of that cable, what is the importance of that musician.?I decided that the eye and the space and the musicians needed treating live.
2.1.1 In a direct response to this, and to present a useful document to the ROH Firsts I decided to treat the video footage to replicate low level lighting environment: with surprising results - my engagement was enhanced, the musicians looked like they were part of an installation/ set, I was sucked into a world rather than presented with the ordinary.
2.2Q: do the musiciains need to be seen live?
2.3 Three possibilities for development i) a LX designer - using video footage, live still projection, lanterns, gobo's, mobiles etc - lights the musicians and the stage in response to the live score; ii) the audience and the stage are treated as one, and lighted as an installation, in response to the live score; iii) the laptops generate the LX design or (as Mick Wilson mentioned) each score is projected onto each musician in an abstract lighting type way.
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