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263 pages

English

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Description

A unique contribution to an emerging field, Composed Theatre explores musical strategies of organization as viable alternative means of organizing theatrical work. In addition to insightful essays by a stellar group of international contributors, this volume also includes interviews with important practitioners, shedding light on historical and theoretical aspects of composed theatre.

Introduction: Composed Theatre in Context – David Roesner

PART I: History and Methodology

Chapter 1: Composed Theatre: Mapping the Field – Matthias Rebstock

Chapter 2: Composition and Theatre – Roland Quitt

Chapter 3: ‘Happy New Ears’: Creating Hearing and the Hearable – Petra Maria Meyer

PART II: Processes and Practices: Work Reports and Reflections

Chapter 4: ‘It’s all part of one concern’: A ‘Keynote’ to Composition as Staging – Heiner Goebbels

Chapter 5: ‘ Theatre in small quantities’: On Composition for Speech, Sounds and Objects – Michael Hirsch

Chapter 6: … To Gather Together What Exists in a Dispersed State … – Jörg Laue

Chapter 7: From Interdisciplinary Improvisation to Integrative Composition: Working Processes at the Theater der Klänge – Jörg U. Lensing

Chapter 8: ‘ Let’s stop talking about it and just do it!’: Improvisation as the Beginning of the Compositional Process – George Rodosthenous

Chapter 9: Hearing Voices – Transcriptions of the Phonogram of a Schizophrenic: Music-theatre for Performer and Audio-visual Media – Nicholas Till

Chapter 10: Composing Theatre on a Diagonal: Metaxi ALogon, a Music-centric Performance – Demetris Zavros

PART III: Processes and Practices: Portraits and Analyses

Chapter 11: ‘Ça devient du théâtre, mais ça vient de la musique’: The Music Theatre of Georges Aperghis – Matthias Rebstock

Chapter 12: Musical Conquest and Settlement: On Ruedi Häusermann’s Theatre Work(s) – Judith Gerstenberg

Chapter 13: Composing with Raw Materials: Daniel Ott’s Music-theatre Portraits and Landscapes – Christa Brüstle

Chapter 14: Permanent Quest: The Processional Theatre of Manos Tsangaris – Jörn Peter Hiekel

PART IV: Discussion and Debate

Chapter 15: Composed Theatre – Discussion and Debate: On Terminology, Planning and Intuition, Concepts and Processes, Self-reflexivity and Communication – Edited by Matthias Rebstock and David Roesner

PART V: Discourse and Analysis

Chapter 16: ‘ It is not about labelling, it’s about understanding what we do’: Composed Theatre as Discourse – David Roesner

Sujets

Musique

Théâtre

Music

General

General officer

Performance art

Multiple signal classification

Theatre

Performing Arts

Theater

Informations

Publié par	Intellect Books Ltd
Date de parution	10 janvier 2012
Nombre de lectures	0
EAN13	9781841506654
Langue	English
Poids de l'ouvrage	1 Mo

Informations légales : prix de location à la page 0,1900€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Composed Theatre
Composed Theatre Aesthetics, Practices, Processes
Edited by Matthias Rebstock and David Roesner
First published in the UK in 2012 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2012 by
Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2012 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Cover: Scene from Tr be Quellenlage by Ruedi H usermann.
Photograph by Sebastian Hoppe.
Cover designer: Holly Rose
Copy-editor: Macmillan
Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-456-8
Printed and bound by Bell & Bain, Glasgow.
Contents

Acknowledgements
Introduction: Composed Theatre in Context
David Roesner
PART I: History and Methodology
Chapter 1: Composed Theatre: Mapping the Field
Matthias Rebstock
Chapter 2: Composition and Theatre
Roland Quitt
Chapter 3: Happy New Ears : Creating Hearing and the Hearable
Petra Maria Meyer
PART II: Processes and Practices: Work Reports and Reflections
Chapter 4: It s all part of one concern : A Keynote to Composition as Staging
Heiner Goebbels
Chapter 5: Theatre in small quantities : On Composition for Speech, Sounds and Objects
Michael Hirsch
Chapter 6: To Gather Together What Exists in a Dispersed State
J rg Laue
Chapter 7: From Interdisciplinary Improvisation to Integrative Composition: Working Processes at the Theater der Kl nge
J rg U. Lensing
Chapter 8: Let s stop talking about it and just do it! : Improvisation as the Beginning of the Compositional Process
George Rodosthenous
Chapter 9: Hearing Voices - Transcriptions of the Phonogram of a Schizophrenic: Music-theatre for Performer and Audio-visual Media
Nicholas Till
Chapter 10: Composing Theatre on a Diagonal: Metaxi ALogon, a Music-centric Performance
Demetris Zavros
PART III: Processes and Practices: Portraits and Analyses
Chapter 11: a devient du th tre, mais a vient de la musique : The Music Theatre of Georges Aperghis
Matthias Rebstock
Chapter 12: Musical Conquest and Settlement: On Ruedi H usermann s Theatre Work(s)
Judith Gerstenberg
Chapter 13: Composing with Raw Materials: Daniel Ott s Music-theatre Portraits and Landscapes
Christa Br stle
Chapter 14: Permanent Quest: The Processional Theatre of Manos Tsangaris
J rn Peter Hiekel
PART IV: Discussion and Debate
Chapter 15: Composed Theatre - Discussion and Debate: On Terminology, Planning and Intuition, Concepts and Processes, Self-reflexivity and Communication
Edited by Matthias Rebstock and David Roesner
PART V: Discourse and Analysis
Chapter 16: It is not about labelling, it s about understanding what we do : Composed Theatre as Discourse
David Roesner
Contributors
Acknowledgements

F irst and foremost the editors would like to thank the Arts and Humanities Research Council, UK (AHRC), and the Stiftung Universit t Hildesheim for funding two four-day symposia in Exeter and Hildesheim, which formed the starting point and basis for this research and this publication. We would like to thank all those who attended and participated in these symposia, generously contributed to them and have left their mark on the research presented here. The Department of Drama, Exeter, the Institut f r Musik und Musikwissenschaft, Hildesheim and the Universit tsgesellschaft Hildesheim further supported the research workshop events that were instrumental in establishing the notion and the network of Composed Theatre. The use of space and resources, the help from technical and administrative staff as well as the interest and support from colleagues at both institutions were all much appreciated. The tireless work of the research assistants Paul Edmondson and Karoline K hler was another key factor in successfully preparing and conducting the project, which led to this book. We are also grateful to the Herder Kolleg of the Universit t Hildesheim for its valuable support regarding the translations.
Many thanks go to Peter Hulton, who carefully and diligently documented the workshops, presentations and discussions preceding the book and ensured their accessibility through the Exeter Digital Archive, Exeter, and the Audio-Visual Archive at Hildesheim, and Sarah Crumb, who provided the exact transcripts from the lively discussions, which formed the basis for chapter 15.
Editing, writing and partly translating a publication in English as two non-native speakers, we needed patient, resourceful and sensitive editorial advice and received it in full from Sarah Evans (Exeter), Peter Thomson (Exeter) and Nita Shechet (Jerusalem), whom we thank very much. We are also very grateful for the translations provided by Lee Holt and Nick Wood. Any remaining flaws, however, are ours.
Introduction: Composed Theatre in Context

David Roesner
S ince the beginning of the twentieth century, it has been an ongoing interest of composers like Arnold Sch nberg, John Cage, Mauricio Kagel, George Aperghis, Dieter Schnebel, Hans-Joachim Hespos, Manos Tsangaris, Charlotte Seither and Heiner Goebbels - to name but a few - to approach the theatrical stage and its means of expression as musical material. They treat voice, gesture, movement, light, sound, image, design and other features of theatrical production according to musical principles and compositional techniques and apply musical thinking to performance as a whole. This idea is again flourishing among composers, directors and theatre collectives, as reflected in recent developments towards postdramatic forms that de-emphasise text, narrative and fictional characters, seeking alternative dramaturgies (visual, spatial, temporal, musical), and focussing on the sonic and visual materialities of the stage and the performativity of their material components.
At the same time, musical composition has increasingly expanded its range of instruments to include live video, lighting design, live sound electronics, costumes and spatial arrangements, and has paid closer attention to the theatricality of the musical performer. Thus the interests in the musicality of theatrical performance and the theatricality of musical performance have given rise to a wide range of forms of what we propose to call Composed Theatre.
Following two symposia Matthias Rebstock and I organised in 2009 at Exeter and Hildesheim, to which we invited practitioners and scholars who work in this field, we seek to now establish the field of Composed Theatre in this book, providing terminological consideration and frameworks for analysis, all of which have not been widely used before and have not received in-depth academic attention. We have called on both scholars and practitioners, thereby providing a wide range of historical and theoretical perspectives as well as detailed case studies. It is one of the contentions of this book that Composed Theatre cannot be defined solely by its works or outcomes. It can, however, be grouped and approached - despite the diversity of its outcomes - according to specific characteristics of its various stages of becoming: its conceptual, devising, rehearsing and designing processes. In short, it is the process, not the performance that distinguishes Composed Theatre from other forms and thus defines the field.
Our book does not seek to define Composed Theatre ontologically or phenomenologically, but in the light of a genetic approach (see e.g. Feral 2008; Rebstock 2009; Roesner 2010), which aims to establish a set of shared criteria that are characteristic of most of its creation processes. These are particularly interesting not least because this kind of composing of theatrical media according to musical principles calls into question fundamental certainties about both musical composition and music-theatrical production.
Composed Theatre is situated within and expands on a context of previous research into earlier examples of this practice, particularly in the US and around the work of John Cage (e.g. Fetterman 1995; Kaye 1996; Sanio 1999; Deuffert 2001). However, work of this kind has proliferated in more recent European and particularly German developments due to a unique theatre system and a specific funding and festival culture, both of which facilitate this kind of experimental work. Our book explores this European strand. Here it is particularly Mauricio Kagel, another composer of the generation of the fathers (Tsangaris) of Composed Theatre, who has received detailed academic attention, to which this book is also indebted (see e.g. Schnebel 1970; Kl ppelholz 1981; Kl ppelholz/Prox 1985; Tadday 2004; Heile 2006; Rebstock 2007). Kagel s often-cited notion that one can compose with sounding and non-sounding materials, actors, cups, tables, omnibuses and oboes (Kagel 1982: 121) is a point of departure and recurrent throughline in the research on Composed Theatre. Matthias Rebstock s chapter Composed Theatre - Mapping the Field (chapter 1) explores the historical developments and lineages of Composed Theatre in greater detail and David Roesner s concluding discourse analysis (chapter 16) extends this towards an in-depth interrogation of the main themes, features and characterisations of Composed Theatre today.
Composed Theatre is consciously in dialogue with a number of neighbouring or overlapping discourses. With its focus on process, for example, it aims to be a significant contribution to the current scholarship on artistic process (Bannermann 2006; F ral 2008; Porombka et al. 2006, 2008). While not all Composed Theatre is music-theatre, there is certainly a strong relationship with the development and discussion within experimental music-theatre (Heilgendorff 2002; Mause