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Hiaz.MeetTheComposersr1.1 - 16 Jul 2005 - 23:35 - TWikiGuesttopic end

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Meet The Composers

a project by ToxicDreams planned for Aug/Sep 2004

How music usually works in theatre

Here is how music works in the theatre (most of the time): an action is set, text and all the rest of the set, props etc, then the music comes; usually it serves as a background to the text, enhancing one emotion or another, it plays on low volume not to disturb the prominence of the spoken “play” and lately it sounds more like a hit list that suppose to help the audience with the mood in question and make a short cut that otherwise will require some real stage work. In short, just like in the movies, an emotional squeezer.

… and how it works in our shows

Music in our shows gets a different treatment; it is closer to an opera and functions on the same level of importance. It has sometimes the same volume level as the text, which means words as sound instead of a meaning carrier. It is sometimes in opposition to the action on stage, which means many levels of meanings are co-existing in the same time. It is sometimes distorting the mood on stage, which means the audience is being asked to put together contradicting aspects of the same reality into one universe. In short, in many shows music is the main drive of the action on stage.

Meet the Composers

In “Meet The Composers” we asked 3 composers to write new pieces, or rearrange old ones, without any show in mind. It is up to them what to write and how it should be played. After the pieces are finished an action will be worked out to accompany them. The action will be rehearsed without the music and will be a mix between silent movie-acting, dance and performance installation. The action and the music will be put together only in the final stage of rehearsing and only minor adjustments will be made to merge them, otherwise they will stay independent of each other.


The action will take place in a series of rooms; each room will be designed to serve the specific needs of the music pieces (speakers, volume, distance, etc.). The audience will move from one room to another and will be placed or seated according to the action. Each composition will get a specific treatment and will have no connection to the way the other compositions are staged. So in our sound, it will help to listen to the cell/room in its complexity and ‘spread’, then succeeded by another cell, and another. The important thing to remember - it’s not the development from cell to cell, but it is thematic modulation, continual thematic modulation…not to carry you deeper into being hypnotized by your own emotional habits and responses…but to maintain a certain sort of mental and ‘feeling’ tension which will keep your faculties ‘spread’ to the optimal degree. So each moment has a different meaning, each moment a different theme.
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