showcasing relevant parts of the ideas
Mathias Madsen Munch and Lasse D. Hansen
Face the Music (2016)
Face the Music was announced as a lecture in a series of five so-called PechaKucha Nights—a worldwide concept where a number of creative participants present their work, ideas and visions in 20 images, displayed in exactly 20 seconds; a total presentation time of 6 minutes and 40 seconds each—and therefore the audience did not know in advance what to expect.
An actor played the role of speaker, four musicians accompanied his presentation, a video animator made a fantastic ’living‘ slide show and in addition, we had a mechanical metronome, extended lighting and a 5 channel sound design on stage.
The work thus starts as a lecture, but gradually transforms into something else as the speaker—literally, dramatically—disappears into his musical memories. It evolves into a short story where he has to try to find his way back.
Other roles are prerecorded voiced/sung by actors, so only the voices, their ’sound’, are with him on stage. The interesting thing for me was to write a story that takes place within the music and where the music plays a leading role in line with the actor, as we intend to do with I Don’t Dance, where music, acting and dancing are all equal in the performance.
READ THE SCORE
Tuning, Applause (2016)
In Tuning, Applause, I took two situations where there is always a guarantee for chills: the sound of the symphony orchestra’s musicians tuning their instruments before the concert and the sound and audience clapping after the concert.
I wanted to share my enthusiasm for the natural-sounding, uncontrolled and effervescent symphonic seas that I at concerts always look forward to disappearing into. I made it my job to explore what these two important rituals there respectively starts and ends the concert has to do with each other, and decided to let them meet—with each other and with the audience—by writing them in a kind of symphonic narrative:
The work starts almost unnoticed with the music growing out of the orchestra’s tuning procedure but interrupted when an audience member claps too soon, midway through the work. The conductor asks the musicians to start over, but from here, something is changed. The orchestra is now out of tuning and the conductor turns impatiently towards the audience, conducting their applause in the same movements as the orchestra.
To get the audience involved in the game, I had placed 50 extras—such as theatre directors in the 19th century France bought to applaud at the right moments: claqueurs—among the rest of the uninitiated audience, who, to my pleasure, all joined the clapping.