Tiago Gati_Immersion, Presence and Drama in the Musical Space of Performance with Loudspeakers.pdf (original) (raw)
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We can now use wireless speakers integrated within a playback system to enhance the sonic perceptual specificities of a production. These specificities may allow for the audience, actor and designer to go deeper into aural phenomenological realization of the text, whereby moving the audience both closer to not only a more transparent and realistic perception of the text, but a more dynamic sonic relationship to the narrative of the theatrical production. The auralization of the sounding text and story can be enhanced through the use of wireless speaker technology insofar as this methodology can make more theatricalize that which is already part of your everyday experience. The sound designers implementation of wireless speakers in conjunction with the method of the actor is a very efficient technique to confirm a sense of " realism " without necessarily creating a momentary break in attention to the continuity of the play. As a tool of design, this method of implementation also gives the sound designer the flexibility to enhance the dynamics of space and position of sound in the theatre that may coordinate with the potentials of the script and design of a production. As humans who are use to moving in a space and have the constant experience of sound moving with and around them, the theatergoer too can relate more closely with a phenomenological experience and gives them a physical realization to do so. For example, the audience member will naturally follow the ringing of a phone in mid-movement from an actor who is moving across the stage and staying with a story. Conversely, the audience is removed from the " reality " of the presentation when following an actor moving across the stage and the sound does not ring " with " them. These seemingly minute details of outlining the subtleties of perception make a huge difference when it comes to how the theatregoer relates to a mode of production's ability to pull them into a theatrical experience. This idea challenges a long oversimplified notion of human perception which grew out of a discipline of Literature. It was Samuel Taylor Coleridge who suggested: [if a writer could infuse a "human interest and a semblance of truth" (Coleridge, Chp.14) into a fantastic tale, the reader would suspend judgment concerning the implausibility of the narrative]. Because of these modern advances in technology, specifically with the use of wireless speaker technology, the artist is now able to actualize or 'cue-in' a " sounding moment " by means pure design implementation. No longer is the theatergoer subject to a distortion of actual acoustic perception, but rather can experience a seamlessness of aural continuity which remains contiguous with the play in which they are observing.
Audience Experience in Sound Performance
This paper presents observations from investigating audience experience of apractice-based research in live sound performance with electronics. In seekingto understand the communication flow and the engagement between performer andaudience in this particular performance context, we designed an experiment thatinvolved the following steps: (a) performing WOSAWIP at a new media festival,(b) conducting a qualitative research study with audience members and (c)analyzing
Creating for the Stage and Other Spaces: Questioning Practices and Theories, 2021
The article focusses on the concept of music performativity in reference to works of three European composers and theatre directors: Georges Aperghis, Niels Rønsholdt and Wojtek Blecharz. All are representatives of ‘the new music theatre’ which can be defined by the negation of traditional opera and musical (Salzman, Desi, 2008). In opposition to the constant and unchanging hierarchy of devices presented in traditional opera, the new model of music performance is based on questioning established patterns and perpetual testing of new solutions in the field of shaping the relationship between music and other spheres of performance. The composing and staging strategies of Georges Aperghis, Niels Rønsholdt and Wojtek Blecharz consistently develop the concept of music performativity which evokes the idea of Fluxus „visual music” – music which is not only „to be heard” but also „to be seen”. Aperghis creates a type of automated theatre, where electronic devices cooperate with actors and their voices, creating a new model of „musical assemblage”. Niels Rønsholdt specialises in chamber operas and music installations in which viewers are meant to be active participants, not only observers. Theatrical projects of Wojtek Blecharz explore the relationship between body and sound in a wide and multi-level way, paying attention to the audience’s experience. The main purpose of the article is to show the process of sound autonomisation as well as to present various models of music performativity in contemporary European theatre. Simultaneously, the author intends to retrace the aesthetic influences, affinities and oppositions between these three examples of experimental music theatre.
Strategies in sound based augmented reality theatre
In public spaces the individual encounters a multitude of sounds. Environmental sounds contain basic entomic sonic signifiers, banal imperious announcements, passing conversations, animal sounds, machine sounds, fragments of musical notes; all mix within the spaces enveloped by architectural structures to create a complex and fluid sound field that helps shape reality. In my recent work, Interzone Theatre, this sound field is altered entirely. The individual, wearing headphones, enters a parallel interpretation of the sound field that augments psychogeographic affects with fictitious psychoacoustic ones. Using locative media, the narrative unfolds as the individual progresses through the city; encounters with pedestrians and urban features are imbued with an alternate narrative. Here the function of sound as contextualiser of experience is to call the listeners imagination to attention as an active correspondent to the city around them. In such interventions, the public space is the ‘objective’ reality that is being augmented by the listeners imagination, shifting attention and reconextualisation to create an experiential space. This experiential space is site-specific and person-specific, a personified Auditorium. I describe the word Auditorium here as a psychic space drawn and constructed from a Gestalt of perception, an affect of the environmental on the personal; a spatial, cultural and experiential framework that contextualises the meaning of a state of being at that moment. The essay begins with a description of the role of sound in shaping the personal Auditorium. It follows with a basic strategy for the sonification of psychogeographical affordances in an urban space and concludes with an example of how locative media can utilise these elements to dramatise a soundwalk and by doing so expand the realm of performer and audience relationship
CMMR, 2019
Originally composed by Marcello Messina, Ntrallazzu is a cycle of pieces for live score and electronics built on Max, and involving various instrumental line-ups. In particular, Ntrallazzu 4 was performed by Luzilei Aliel on the pífano and electric guitar in São João del Rei during the VIII UbiMus workshop. Aliel’s particular setup also involved a further layer of processing: namely, the usage of Pure Data alongside Ableton Live in order to literally hijack the original piece and open a whole set of unforeseen possibilities that abundantly transcend the original intentions. In this paper, we signify our experience by means of the concept of comprovisation, while we situate Ntrallazzu 4 within the domain of ubiquitous music.