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Theatre of Sounds
' Altmüller, Bogner
Altmüller, Bogner
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' Egger, Mechtler, Schu
Egger, Mechtler, Schu
A TURBULENT OPERETTA IN ELECTRO-ACOUSTICAL MANNER (Première)
Tuesday, September 11th, and Thursday, September 13th, 1984, 8:00 p.m.
Posthof, Great Hall
VISUAL DESIGN: Altmüller-Bogner, Linz
MUSICAL ARRANGEMENTS: Egger-Mechtler-Schu, Vienna
PERFORMERS:
Moidi Kretschmann
Music band of Gramastetten
Ulla Gruber
Ingrid Hö1ler
Helga Holzmann
Brigitte Justl
Elisabeth Schick
Grete Szova
Peter Sommerfeld
Arthur Singer
Ulli Altmüller
Pepi Oberauer
The St. Florianer String Quartet
Heinz Wustinger
Group of Actors
ENGINEERING: Wolfgang Musil
In Cooperation with the Alternative Culture Centre Posthof
An exhibition about the "Theatre Of Sounds" is open daily from 10:00 am to 5:00 p.m.THEATRE OF SOUNDS Every sound a proper theatrical shape, every sound its own "theatre".
Theatre in its original shape—as a stage, a place of resounding ways of expression gliding past the spectator—a kind of musical theatre.
An acoustical sky—a system of hundreds of small loudspeakers and a loudspeaker unit allows alternatively the diffusion of sound images, sound colours and musical compositions.
Noises become sounds, sounds become objects, objects become scenery, scenery becomes costumes, costumes become noises. This mutual neutralization and aligning of sound and visual effects allows the characters to meet their rank step by step, to develop their own life, to escape their isolation on one side and to express their being outsiders, on the other.
The sequence and story of the piece will be composed by using different techniques of sound production—by the rustle and the squeal of a dress, by rattling musical instruments and colourful, blooming, moving sceneries—and in addition electronic means transform the sounds or minute contact microphones amplify the natural sounds produced by the actors or objects. Maybe a kind of alienation technique is created, which demonstrates the weakness (respectively the power) of sound and noise in connection with other artistical means of expression. Under consideration of these factors, these playful, funny sequences the cooperation of the three components—music, optics and spectacle—are realized.
The Authors:
"Strange looking attendants invite to take a seat. Stifling diffuse artificial light produced by a God in a not at all pleasant mood and only through the fine, light sounds from hundreds of loudspeakers we leave the damp and gradually come into a jolly, jubilant atmosphere.
Suddenly a light-flashing opalescence bangs in, and twittering wanton horn-hoppers jump from the dazzling glare.
Shapeless fatties, roll, tumble, shrieking from their pipe holes.
Dark, slightly sweetness is coming up, so light…
Suffocating, ebullition blushing and singing with lust! So much more until the tone appears.
A June bug hero's life.
So getting stronger, until the anxiety gives way to sweetness, laughter escapes.
Tassilo straightens up, listening:
"This is at the hermitage, maybe a tourist or even a Rocklander who got lost in the backyard of the Post Hotel."
He grasped the oars and started pulling them with all his force. Even before the boat reached the estuary of the creek, he saw the figure waiting in the moonlight.
The stranger approached the skiff and in the clear light of the moon Tassilo recognized the young artist.
"That you, Bruckner?" "Can't get in!"
"Come on, I'll help ya."
Both hands did he put to his temples and gasped: "An' ev'ry time it gets me 'gain"
and the festival started…
The performances include a synthesis of representing arts and movement, respectively dance and music.
Theatre of Sounds
Artists coming from various spheres cooperate in this event and it is the variety of their approach that leads to the mutual stimulation of ideas so characteristic of this performance.
For the realization of our composition we conceived the idea of an "acoustic sky"—a system of 100 computer-controlled loudspeaker units, of pulsation, circulation: dynamic processes which link up to the visual level by using most recent technology.
Methods of reproduction have left music today without emotion, without mythology, the listener has become the passive recipient.
Our music, if it sounds from the loudspeakers, is a present happening. It does away with the type of reproduction that we are so used to. Present sound must be performed physically and psychically.
Peter Mechtler:
AKA 2000 The purpose was to create a universal system for sound synthesis, sound processing and sound analysis without being tied to a certain standard of technological development. The resulting modular set-up permits the replacement of one task group by another one of the most recent technological design and a corresponding increase of capacities without requiring a totally new system. AKA 2000 is a multiprocessor system conceived for parallel processing of data. For its application in the musical, artistic sphere, the variability of man machine interface was a prime concern. By strict hardware separation of manipulating units from the unit of digital audio signals this requirement is met. These two task groups are linked up by a suitable software package.
AKA 2000 is an open system for testing new forms of application of computer technology in the sphere of art.
Manfred Schu:
"UBIUBI"—ONE WAY OF STILL PRACTISING ART In order to take a step forward in art you first have to take a step backward, to establish a relation to the distant, to the writing down of actions which, the more you travel, confuses and facilitates the astrophysicist, the table-tennis player or two lovers to experience expansion and further knowledge in their field; complexity is being reflected.
Study the toe of your grandmother to become a good artist!
But by studying you must advance towards the apple-tree, to know the time, to take the lead. UbiUbi may be concerned with silence, with the void, it is being where you can hear and see; e.g. at the sounding of fluids and the resulting solution of the question of cause and effect, for if the straight line is only straight and does not imply any hope it is in vain. The unknown factor is the deviation of the state of inertia and it is the only possible movement.
You have to be silent for some time to find language;
the Gothic mind is good at it!
The use of the unicorn horn explains the silence. Only when it is being played in a composition can silence be understood. Thus it is an important instrument of new music, it is not played like the intervalls but like sirens; they only complete the silence.
Love a mite and you may add an important note to your composition, the air has done its duty.
Circle „Antinome Urmuse“
Concerned with the creation of a cultural climate facilitating an understanding of the historically founded separation of art and science, of play and work, of the private and the public sphere as a collected error.
Intelligible Antinome Symphonie
consists of two semicircles of 25 contrabasses and 25 percussionists each with partial electroacoustic modification.
Back to back the conductors experience
UbiUbi—baton
diabolic fiddle
the scores with the musicians.
A manifesto of boiling ice or purified astrology or else what. Three movements and an improvised centrepiece lead into a different continuity of time.
Composition: Manfred Schu—percussion; Peter A. Egger—strings…
we do no longer accept the human being as a "by-product of civilization!"
UBIUBIsm and DUALEIN demand SILENCE for everyone.
The technical realization of the composition for the "Theatre of Sounds" was possible through the support of the Institute of Electroacoustics and Experimental Music at the Vienna University of Music and Acting. This Institute is an integral part of the university and offers studio technology and techniques, electronic music and computer music. It is also responsible for research at various levels; AKA 2000, new electronical musical instruments and simulation of musical tuning.
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