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Zaum: Beyond mind (1)

Citation: WIlkins, Caroline Zaum: Beyond mind (1).


Creative Commons: Attribution-No Derivative Works 4.0

Discussion: The following is a summary of the points raised during our inter-disciplinary discussion which followed the performance and provided some essential external feedback to my work and approach: First of all it was necessary to emphasise that my collaboration with another composer producing live electronics during the piece would be part of the eventual work, as a 1st practical project. My theory is concerned with the embodiment of music – whether performer body or instrument(s), real or virtual - in space. Parallel to this runs the theme of finding new relations to other elements in performance, whether visual, text, sound, choreography, and finally the issue of finding notation / score forms for these different languages. There are the following aspects to consider: • reading notation (who reads it?). • new vocabularies and terminologies. • the accessibility of a music score, its role in new music theatre. • the place of the score on or offstage, its integration into a performance as an object, its symbolic authorship. What other forms could it take? That of moving symbols, signs, graphics on a computer screen? • The ‘fluidity’ of a score. Problem of finding a common language between the different art forms of performance v. the risk of a loss of diversity. Is it more a question of understanding other disciplines/languages? • The application of musical thought to a theatre context (equally possible would be scenographic thought, choreographic thought, lighting design thought, for example). Understanding the process of someone else’s creative thinking. Lighting can be seen as a counterpoint to the other elements, through the application and translation of musical thought. (into rhythm, accent, density), or textual thought (punctuation, phrases, multiple lines). I cite the different meanings of a term, for example ‘dynamic,’ when used in music or choreography. • There is the central importance of the body in non-verbal communication that happens between dancers, actors, & musicians. An open-ended dimension of process is invaluable in being able to defy being named (reference to Derrida), and has to remain so until a later stage when a possible form, structure and direction surfaces of its own accord. • We discuss the dilemma of authorship, intention, information, confrontation, on the part of the source material. Should the author/performer divulge more about the work to be seen / heard? Is there a need for points of reference on the part of the audience? “The question is not, is it true? But, does it work? ….What…does it open in the body?” (B. Massumi.) • Gestures of playing are used without the instrument – my reasons for this, which link to the character and the zaum text. Working with 3 basic emotions in relation to text. • The issue of a musical instrument as an animate, spirit-being (according to many non-western cultures), the physical proximity and respect towards the instrument regarding its space.

Additional Information: Summary: Work in progress presentation, ‘Cross school Event’ - 03.06.09 (documentation of performance excerpts) A 20 minute presentation of excerpts from vocal and instrumental music theatre solos from ‘Zaum: Beyond Mind’ (without live electronics), took the following form: • A brief introduction emphasising the key roles of body, breath and bandoneon in the 1st excerpt. • Excerpts from ‘Zaum: Beyond Mind’ using movement, bandoneon and voice. • A brief outline of my research theme and its relation to both the visual and sonic performing spaces. History of and approach to the instrument played, the term ‘ new virtuosity’ in relation to playing technique, relation of the body to the instrument. Introduction to next excerpt. • Excerpt from ‘Zaum: Beyond Mind’ using voice, movement, gesture. (text: zaum poetry by the Russian Futurist Alexei Kruchenyk.) Series Title: Zaum: beyond Mind Event Title: Cross School Event; Event Venue: Antonin Artaud building, Brunel university; Event Date: 2009-06-03;
Creators: WIlkins, Caroline and
Subjects: Music
Keywords: Material type: Workshops and Demonstrations, Musical Tradition: Western Classical
Divisions: Institute of Musical Research
Collections: Practice as Research in Music Online (PRIMO)
References: Composers: Wilkins, Caroline; Performers: Wilkins, Caroline (Voice, Bandoneon); Contains third-party copyright material: no; Acknowledgements of support: Every creative participant involved in the recording, namely Jonathan Trusler, video artist, and the Drama department of Brunel university, have licensed me to claim the research as my own and publish it on PRIMO. Every creative participant involved in the recording, namely Jonathan Trusler, video artist, and the Drama department of Brunel university, have licensed me to claim the research as my own and publish it on PRIMO.


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