The song that Marc was teaching Jerry and I last night reminded me of this video I had seen of the Dirty Projectors demonstrating "hocketing", which is basically sharing a melody between two or more people, alternating singing/playing notes, giving a ping-pong effect.
Dave Longstreth talks for a while about it, but skip to minute 7 to see the ladies demonstrate.
This hocketing example might be more useful for a group song. This is a group of flute players from Ethiopia. It gets pretty crazy and dissonant, but a melody could work on top of something sparer. We could try something like this as a vocal improv.
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We are in a place and time when we don’t really know who we can trust. There’s something scary and supernatural playing out in regular life. You can’t see it, you can’t prove it, but you know it’s there. What would it mean to escape the anxiety of your own mind into a different reality? You would need to find a place to escape to. A beautiful pink world, a snowy world, the coldness of the desert, the emptiness of space and a little blue dot. What a beautiful thing to be isolated in a vast landscape, filled with wonder, and you don’t feel lonely at all.
Hand2Mouth presents a speculative performance in 4D. It’s more magical if you don’t know how it works.
Uncanny Valley mandate:
Let’s play with the audience’s memories and with our own memories, and use the mechanism of live theatre to identify and explore memory as the very essence of what makes us human.
Theatre is a time-based art, a memory machine, let us use it not to show or tell, but to strive for the impossible goal of manipulating and inhabiting memories on stage with an audience. Let us do this to spark our own memories, and to trigger those of the audience, in order to provoke reflection about the slipping away of time, and the relishing of present moments that will soon become past memory. Let us do this in a kickass psychological, sonic, poetic, and physical way that can only be done onstage via song and spectacle.
In Uncanny Valley, we create a radically new theatre experiment that is based on the process and intoxication of the phenomenon of memory.
EVOLVING CONCEPT (now outdated)
Let’s play with the audience’s memories and with our own memories, and use the mechanism of live theatre to identify and explore memory as the very essence of what makes us human.
Theatre is a time-based art, a memory machine, let us use it not to show or tell, but to strive for the impossible goal of manipulating and inhabiting memories on stage with an audience. Let us do this to spark our own memories, and to trigger those of the audience, in order to provoke reflection about the slipping away of time, and the relishing of present moments that will soon become past memory. Let us do this in a kickass psychological, sonic, poetic, and physical way that can only be done onstage via song and spectacle.
In Uncanny Valley, we create a radically new theatre experiment that is based on the process and intoxication of the phenomenon of memory.
EVOLVING CONCEPT (now outdated)
Hand2Mouth presents a speculative performance in 4D. It’s more magical if you don’t know how it works.
CONTENT
- Anxiety & loneliness
- Escapism
- Creating specific new worlds -- multiple realities
- Primitive/everyday/simple vs. Technological/supertech/complicated
- Technology & tools: simple / complicated, human relationship, incredible things it allows to happen.
- Fundamental humanity, human-ness -- focusing on this, not on the aliens
- Little Prince
- Pregnancy
FORM
- Episodic structure: what links the worlds is slowly / surprisingly revealed
- Throughline, elements or journey that links stories
- Creating specific new worlds -- multiple realities
- Sensuality, hyper visual, trippy
- Pushing to a level of intensity, proficiency (physically, performatively)
- Extremes of quiet, extremes of loud -- dychotomies between different extremes
- Bending reality -- bread skitters across table
- Surprising audience: sudden reveals, cliffhangers, messing with expectations
- Grand opera
- Anxiety & loneliness
- Escapism
- Creating specific new worlds -- multiple realities
- Primitive/everyday/simple vs. Technological/supertech/complicated
- Technology & tools: simple / complicated, human relationship, incredible things it allows to happen.
- Fundamental humanity, human-ness -- focusing on this, not on the aliens
- Little Prince
- Pregnancy
FORM
- Episodic structure: what links the worlds is slowly / surprisingly revealed
- Throughline, elements or journey that links stories
- Creating specific new worlds -- multiple realities
- Sensuality, hyper visual, trippy
- Pushing to a level of intensity, proficiency (physically, performatively)
- Extremes of quiet, extremes of loud -- dychotomies between different extremes
- Bending reality -- bread skitters across table
- Surprising audience: sudden reveals, cliffhangers, messing with expectations
- Grand opera
- PROUST
Swann's Way [1922]- Within a Budding Grove [1924]
- The Guermantes Way [1925]
- Cities on the Plain [1927]
- The Captive [1929]
- The Sweet Cheat Gone [1930]
- Time Regained [1931]
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2 comments:
That hocketing is awesome! It reminds me a little bit of what Erin & I had to learn to do for the backing (prerecorded) vocals for one of the EWLLY songs... what was it, the Dad dance? I can't remember what we used the music for now. Maybe the sex talk?
Anyway it was waaaay way simpler than what those two ladies in the clip are doing but it was still effing hard. It took us forever to figure out. We never did do it live but I would love to do more stuff like that.
Yay! Marc, I can't wait to hear that song you guys were working on, you all sounded great.
Oh my god I just listened to those flute players, they freaked my mind out! Aghhh!
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