This workshop is applicable for anyone working in a time-based art form: sound, film/video, dance/movement,performance or poetry

FREE ENTRY/registration is required/ applications forms:milos.vojtechovsky@ famu.cz

Workshop Objectives:

intro: the difference between COMPOSING and COMPOSITING explore then the difference between COMPOSING/COMPOSITION and COMPOSITING/COMPOSIT-TION explore the concepts of “the found ‘thing’” via process and intention and, especially, the use of theatrical structures in composition – ie the 1 act – 6 act theatrical structures

1.What is the difference between finding some ‘thing’ idea, sound, movement, word or phrase and/or creating some thing?

are not all ‘things’ found?

if so where are they found?

if so how are they found?

if so why are they found?

 What is the process of finding and the finding of process?

We ultimately rely on intention to enable the ability to discover outcomes and consequences that were neither anticipated nor foreseen.

How can the intention be ‘honed’?

2. ‘Compositional improvisation’ is knowing:

WHAT you are going to do / what needs to be done… but not HOW

— Consider the difference between tactics and strategy: Tactics is knowing what to do when there is something to do Strategy is knowing what to do when there is nothing to do

— Employing the devices inherent in Theatrical structure to enable the development of an emotional narrative in ‘non-theatrical’performance.

— Consider the differences between collaboration and cooperation.

THEATRICAL STRUCTURES

1. act [ala beckett] — this is happening now (but what happened before this?)

2. act [modern western theatre] cause & effect – something happens > and so this happens.

3. act [sonata] — exposition > development > recapitulation thesis > antithesis > synthesis

4. act [japanese – Jo Ha Kyū] = modulation & movement >begin action / action slowly speed up / sudden swift conclusion

5. act [chinese/japanese – Ki Shō Ten Ketsu] = twists & turns introduction of elements / twist & turns of elements / crux of story -> climax / result

6. act [Aristotelian, classical theater] – exposition > rising action > climax > falling action > conclusion

3. The score: re not all scores graphic scores?

—- consider encyphering and deciphering,

—- finding scores >exploring / exploiting the uses of allegory, metaphor, and symbol and applying them in the context of score development

—-exploiting techniques from as wide a field of endeavor as possible art, sports, science, mechanics, architecture, biology, geology and etc. and applying them in the context of score development

 4. Set and setting’ in the creation/presentation of performance

 SET is the mental state a person brings to the experience, like thoughts, mood and expectations. SETTING is the physical and social environment.

Z’EV (Stefan Joel Weisser, 1951)

is an American sound and visual artist, musician and poet. After studying various world music traditions at California Institute for the Arts he began creating his own percussion sounds out of industrial materials. He is regarded as a pioneer of industrial music. His work with text and sound has been influenced by Kabbalah, as well as African, Afro-Caribbean and Indonesian music and culture. He has studied Ewe (Ghana) music, Balinese gamelan, and Indian tala. After studying at CalArts from 1969-70 he began producing works using the name S. Weisser, primarily concentrating on visual and sound poetries. In 1978 he began developing an idiosyncratic performance technique utilizing self-developed instruments formed from industrial materials such as stainless steel, titanium, and PVC plastics. Initially these instruments were assemblages of these materials.In the end of the year 1980, Z’EV opened a series of UK and European concerts. On that tour Z’EV introduced intense metal based percussion musics using found objects to the UK and Europe. While but one of the progenitors of the “industrial movement”, he was also fairly responsible, along with Neil Megson, for delivering the ‘tribal’ impulse and esthetic into the Western/European cultural milieu developing between the years 1978-1984. Since 1984, he has been concentrating on performing in a more traditional mallet-percussion style, albeit with highly idiosyncratic and “extended” mallet percussion techniques and his self-made or adapted instruments.

Z’EV does not consider his performances as solos, but rather as the unique inter-reactions between himself and his instruments; the particular physical space of the performance; the particular time and geographic location of the performance; and the audience. His recordings have been released by labels such as C.I.P., Cold Spring, Die Stadt, Soleilmoon, Tzadik Records, Subterranean and Touch

http://www.rhythmajik.com/