>1.) presence
>-> The use of our chorus to provide the cyberaudience a possibility of
>being present
>* see santiago's I)1.) the addresses will show WHERE they come from (great
>>idea! and genial if we can technically really do this)
but remember the relation between the adress and the sound will be
'internal'. it will be something we know, and something that gives the chor
an intrinsic truth/internal unity.
the only way for the spectator to know what is really happening would be to
take a look at our mails.
>* second this would stress a "greek element" of our play
er... how?
>2.) dramatic function
>-> bringing the cyberaudience "on stage", does also mean to give this chorus a
>dramatic function in the playscript. This could confer to * either the plot,
>which is Homers Odyssey, his mourning ...
i think the dramatic function in this sense would be the one you posted in
a mail (16/12/96):
>they could be somehow the companions of odysseus - which means that the
>sound must get more and more quiet till total silence: odysseus loses all
>of his companions on his way
>OR * to the "whole" concept, which is
>the _worldwide_ journey of our Odysseus and the worldwide interest on his
>events.
and the relation between real people sitting in front of a stage, real
people acting, real people watching a computer screen; all in different
places, all creating something together. in this sense the cyberaudience
will be doing the same thing actors do (interacting with someone/something
that's happening far away/nowhere) but in a more 'anarchic' way (which can
also be thought of as a more 'internet' way ;> )
>our chorleader (santiago)
:blushes :)
>3) the movements
>-> in our case the audience is invisible, so it can not be a "dancing" chorus,
>means no bodies dancing;
if you understand dance as movement thru space, sounds _can_ dance. they
can appear on different stereo (or quadraphonic) positions and they can
move thru the stereo field (remember Jimi Hendrix' guitar travelling from
one speaker to the other?). in fact, sounds are more free to dance than
human beings. they can suddenly appear on your right, travel to your left,
go far away, etc. this kind of movement would be a bit too much for our
purposes, but each sound can appear on a different place in the stereo
field (and stay there).
sounds will also be 'dancing' around the globe, since they will be 'real'
only on one stage, and 'virtual' on the others. they will (again) 'appear'
on a city, sharing the local space with other sounds (real and virtual,
cyberchor and actors, background 'noise'), dancing.
>The chorus in the japanese No theater, seems to be a good example for a static
>chorus that is developed from the greek chorus: without movements the function
>of this chorus is "the transport of emotions or reflections to the audience
>that are triggered of ongoing on the stage" - which is the same function as in
>the greek tragedie
>(quoting Siegfried Melchinger again)
>->anyone with experiences in No here?
nothing, but sounds interesting.
>The choreographie is described as an "individual" choreography. The dancers
>follow known conventions of movements that express joy or mourning. These
>conventions where known by the chorus AND by the audience of course - actually
>I think these where conventions known and made by all humans. So the movements
>of the individuals where put together into a whole.
>-> I like this because this would mean on the one hand that it does matter WHO
>exactly is in our audience, where he/she comes from. Second we have to
>presuppose that there are conventions that are known by all participants. Once
>again music or sound seems perfect here.
and remember each sound of the cyberchor will have his "individual" place
(stereo position) in space also.
>4) structure
>santiago wrote about the structure of the movements (which has probably be
>expressed in our case in ways different to corporal movements - see 3) )
>Siegfried Melchinger writes, that the Stasimon was dramatic itself: "in the
>crescendo or diminuendo or agitato of its structure"
>the choreography tried to express the musical "evolutions" - thinking basic
>problem, which Melchinger describes as the "tension between old and new"
>he also said that maybe the greek often used familiar tunes for these
>songs and
>only changed the words (!?)
>
>-> santiago's I)2. and III)5. Unfortunately I see no structure in our play
>yet.
>(how many episodes, how long .....) But if this doesn' t matter for you, I
>would say: Go for it!
i guess the text draft is enough for a structure.
>5) sound
>relating to santiago's III)4. and to former discussions we had here.
>* The decision of which sound could be used is on the musicians now, no
>doubt.
>I would only suggest to think of some examples of sound we had here before
>(modem cry, sound of the sea, sound of the streets of the cities we
>choose.....)
i also like that sounds, but i still think the voices are better. with the
first idea we were getting too close to make the chor sound like a drunken
band of sound FX performers. with the vocal idea, we have the chorus :)
>I would suggest the "similes" and the "repetition" homer uses. Maybe we could
>find some words and phrases that fit to every of our scene (they have fear in
>every scene, odysseus has an idea in every scene, they eat and drink and they
>have sex ....)
>>>>So then all day long till set of sun
> we sat feasting on abundant flesh and sweet wine <<<<<<
>:-)
there's an important point here: how are we going to choose the texts? (we
need *256* of them)
i think there are three ways to do it:
1. finger-way: everybody (who wants) writes down a couple of texts, i get
them together.
pros: each one of us will like at least one of them texts.
cons: time and involvment. if 'everybody' means around twenty, each one as
to choose more or less 12 texts, but if it means one (poor me!) i'll have
to re-re-read the whole thing taking notes: no time.
2. algorythm-way: something like the sender adress algorythm, but used to
choose texts.
pros: internal unity/intrinsic truth; less work (that's what computers are
for, anyway); we could have one of _our_ texts choose (ie: Monika's
original invitation to the project), in this way relating to Homer's text
in another way
cons: it's an 'indirect' method of doing things; it's not easy to
understand or to relate to (i almost hate to explain people i'm not
studying physics but writing music).
3. repetition-way (tnx, Mon): only use texts Homer repeated.
pros: being true to the original (they will surely be repeated during the
performances); repeated texts usually fit on every scene.
cons: er... unless there's a study on this subject (which has a list of
this texts), it will be a hard, hard work.
opinions?
>and - I like the idea of the homogeneity!!
ah! them greeks thought about that. clever guys ;>
>Santiago, you have support on this from the University?
not yet. Elsa Gonzalez Bolia (Secretary of the Literature Department) told
me a couple of things about the chorus during an 'informal' conversation we
had, and a good friend of mine (Gonzalo) who has been studying the greek
for a couple of years helped me also.
>ttl
???
(i'm thinking maybe we should split this thing in several threads,
otherwise we'll be writing books about it in a couple of mails)
saludos,
santiago
mailto:jaco@overnet.com.ar
http://www.geocities.com/Paris/3721/
music is dressed silence