any size mirror is a dictator

Click here to load reader

Post on 26-Sep-2015

13 views

Category:

Documents

0 download

Embed Size (px)

DESCRIPTION

Opera Book for 7-week exhibition at Momenta Art.

TRANSCRIPT

  • A NYSIZEMIRRORISADICTATOR

  • Any Size Mirror is a Dictator

    Any Size Mirror is a Dictator

  • ANY SIZE BOOK IS A DICTATORThere are at least two types of Books for operas. The first is a guide, a Book purchased by opera-goers to clarify the narrative and who the characters are, who the performers are, etc. It is a kind of glorified program, explicating the totalitarian world of something intentionally staged. The second type of opera Book is a mas-sive binder full of scores, cues, and notes, compiled and used by the creators of an opera production for use throughout a rehearsal processes. This Book is a conflation of these two types. It contains scores and notes for movement, voice, speech, action, emotion, thought, etc, all con-fused into a cartilage which enjoins live processes with their objectifiable (as translatable into Book form) reflections. The Book seeks to preliminarily reflect all that will beobject about the opera, all that it desperately at-tempts to reflect, contain, signify, and represent, to the furthest extent of intentional and directional mimetic capabilities. It also seeks to mimeticize our experiences in processing this work. Elements with potential for mimesis (i.e. re-performance by us or by others) include that which can be performed as social arts practice, performance art, visual art, installation, music, dance, and/or theater, via the works internal logic and accept-able/interpretable objectives. The Book reflects, most specifically, 7-week period of processes performed at Momenta Art, September 5-October 19, 2014. Previous processes are embedded and finally reflected for use during this culminating exhibition. The Book is created in advance of the final work and so is full of educated guesses, projections, assumptions, and desires.

    TABLE OF CONTENTS

    Structures

    Structural Breakdowns

    General Notes and Choreographic Scores

    Libretto Text and Musical Scores

    Recursive Methodology

    Production Notes

    DICTATORS:COMPOSER: Brian McCorkle LIBRETTIST/DIRECTOR/DESIGNER: Esther Neff CHOREOGRAPHER: Lindsey Drury

    REHEARSIVE TEAM: Paige Fredlund, Matthew Gantt, Kaia Gilje, Ren Kladzyk, Thea Little, Sarah McSherry, Butch Merigoni, Ellen OMeara

    RECURSIVE TEAM: Jessica Bathurst, Lorene Bouboushian, Matthew Stephen Smith

    Other Originating Team Members:Adrian Owen, Valerie Kuehne, Michael Newton

  • STRUCTURES1.) THIS WORK HAS BEEN PERFORMED IN PUBLIC OVER THE COURSE OF A LONG PERIOD OF TIME, APPROXIMATELY 1,000 HOURS. EACH PERFORMANCE HAS, IN RETROSPECT AND VIA ITS STAGING, SOUGHT TO MAKE OF ITSELF AN OBJECT, OPERA-TIONAL IN RELATIONSHIP WITH OTHER OBJECTS (I.E. SPACES, AMOUNTS OF MONEY, BODIES, IDEAS, POLITICAL SYS-TEMS, INDUSTRIES. ETC) AS IDENTIFIED VIA THEIR REFLECTIONS.

    2.) AUTHORIZED OPERA MATERIALS, INCLUDING MUSICAL COMPOSITION/NOTATION, SCORES, 41 PIECES OF TEXT, AND WRITTEN AND VERBALLY DICTATED CHOREOGRAPHIC SCORES HAVE BEEN REHEARSED CONSISTENTLY BY A REHEARSIVE TEAM OF PERFORMERS TOWARDS ACCURACY OF REFLECTION. REHEARSIVE TEAM MEMBERS PURSUE TRAINING, MEMORIZATION AND EMBODIMENT OF AUTHORIZED OPERA MATERIALS.

    3.) A RECURSIVE TEAM OF DIFFERENT INDIVIDUALS HAS SIMULTANEOUSLY DEVELOPED METHODOLOGIES FOR MIRRORING, RECURSING, REFLECTING, REFRACTING, AND OTHER-WISE REINFORCING THE ACTUALITY OF THE OPERA. RECURSIVE TEAM MEMBERS PURSUE AUTO-TRAINING PROCEDURES BASED IN METHODS FROM ETHNOGRAPHY, ANTHROPOL-OGY, AND OTHER SPHERES OF PERFORMATIVE SOCIAL ANALYSIS. THEY WORK IN DIRECT OPPOSITION TO THE OBJECTIVES OF OPERA, THEREBY REIFYING THEM.

    4.) THE DESIGN AND ENFORCEMENT OF STRUCTURES IS THE RESPONSIBILITY OF THE DIC-TATORS. THE EXTENT TO WHICH STRUCTURES ARE EMBODIED IN PERFORMANCE IS RELA-TIVE.

    5.) EVERY SOMETHING IS OBJECTIFIED BY ITS REFLECTION OF ANY OTHER SOMETHING. A TOTALITY OF OF RELATIONALITY, RECURSION OF ALL INTO ANY, THE STRICTEST SYSTEM THERE IS.

  • WEEK 0: ACCEPTABLE OBJECTIVES FOR ART1, 12, 14, 17, 34, 2, 10, 21, 22, 23, 40 , 41 (ALWAYS AND OTHER)

    WEEK 1: CONFUSE MEANS TO POUR TOGETHER (1) 3, 4, 5, 24, 38

    WEEK 2: COGNIZING SELF (17) 6, 7, 29, 30, 16A

    WEEK 3: SIGNIFICANT FORCES OF FEELING (36) 8, 9, (11) 26, 27, 28, (36)

    WEEK 4: I AM ROOTING FOR HIM (12)

    15, 16B, 18, 25, 31, 33, 37

    WEEK 5: WHY DO THERE NO MORE HAPPENSTANCE (11) 9, 13, 19, 20, 32, 35, 39

    WEEK 6: AGENCY

    ALWAYS(1), (12), 14, (17), 34

    ALWAYS AND OTHER2 (documentation on video)

    10 (in space)21, 22, 23 (Kaias diagram aria)

    40 (instructional tape)41 (scores for dictators)

    STRUCTURAL BREAKDOWNS

  • GENERAL NOTES AND CHOREO-GRAPHIC SCORES GENERAL NOTES FOR MOVEMENT MATERIAL: Construction of Training

    From the moment the culminating weeks of performance processes begin at Momenta, the Rehearsive per-formers of movement dictations should no longer use spoken language. The languages available to them have been devised over years of rehearsal, and are given as well in this book. The Rehearsive team has developed body-language systems through which they can spell out needs, ideas, concerns. Over the course of the exhibition, these performers should work to master their non-verbal/ move-ment-based communication systems in order to comprehend and understand. A number of pedagogical dicta-tions have been developed to encourage this process. More can be invented as the process evolves: One performer spells out command while singing the letters, and the other person uses the firsts alpha-bet to complete the command. Letters inside Letters (refer to Confuse #3) Simply performing ones the alphabet, with or without singing the letters. Spelling out an effect or style command upon ones own alphabet while performing it. Running ones body at a speed possible for movement with the letters while singing at a speed possible for voice (refer to Confuse #24). Further, a number of game-based structures have emerged over the last two years as a means by which per-formers can quickly and easily alter the situation at hand: A raised hand is a way of silencing. In different dance dictations, it may have slightly different effects. It can also be used to simply reverse the sonic rules of the dictation underwaywho is singing, for example, can become silent, and who is silent, when a hand is raised, should sing. The word uncle can be used to signify the need for completion or an end-point to the current task. Any single performer may use the Difficult Spelling Bee as self-sacrifice in order to give others a break. To create this action, a single performer does anything difficult with her body while making consistent vocal noise, until some sort of unconscious word is elicited. The solo is then complete; the performer stands to face the audience, and speaks the Word again aloud. Some dictations, which have been designated set dances, are to be rehearsed by the performers in the afternoons before the shows and developed into standardized choreographic vignettes. All set dances should be forms of music visualization, therefore dealing as directly and non-interpretively as possible with the lyrical and compositional elements of the songs with which they are paired. Some dictations, which have been designated transition, are to appropriate the movement dictations from the prior and subsequent pieces, becoming, for lack of a better term, concept-as-cross-fade. Refer to Significant Forces of Feeling #36 for further description. McSherry is not allowed to comment. Three forms of Volume/ Space/ Numbers have been developed to deal with sonic information through movement, vaguely re-described, these are: (1) Single performer plays the volume of the group, (2) Proximity of group in a movement pattern determines volume, (3) The Pile. These should be re-invented, devel-oped, diversified, mastered, managed, etc. One unplaced dictation should be performed. It is called The Nose-Piano. It can be placed with any text or song and at least two keyboards. At least two musicians hold the heads of the dancer/singer performers in their hands. They speak a word, they touch the nose of the singer/dancer to a key on the keyboard. Then, the dancer/singer sings that word in the tone prescribed by their nose. All instructions layer upon all other instructions. Complexity compounds. Nothing is left behind.

  • CONFUSE MEANS TO POUR TOGETHER (1)3 petitioner + engagements/ 4 cocoons / 5 prima ballerina / 24 Aristotles kin kind and brethren / 38 the inventor of carpeting General InstructionsAll the acts will look vaguely like the other acts. Perhaps it is because the body is the sameregardless as to the action, there is an anatomy behind the action. One body with its anatomy does many acts. Collectively, every body is a rendition for anatomys general set of principals of design. The basis for confusion is the degree of difference between anatomically similar bodies. Anatomic, for example, looks like atomic. To be poetic, the difference is annulled, which confuses points. You end up with the degree of difference between atomically similar bodies. England, France, USA, Russia, China, Israel, possibly Iran, and the claims of North Korea. And your particular body.All the acts will look similar to other acts. Perhaps it is because of anatomyregardless as to the action, the design of anatomy drives action. A body with its singular anatomy does all its various acts. On the large scale, anatomy is a construct of design principles, every person is a particular rendering of the design. To confuse, one must be ignoring the degree of difference between anatomically similar bodies. Anatomic, for example, looks like atomic. To wax poetic, differences are annulled, which loses the point. One ends up ignoring the difference between atomically similar bodies. England, France, USA, Russia, China, Israel, possibly Iran, and the claims