Re: [-empyre-] networked_performance 2

[Lucio Agra <agra21@click21.com.br>]

There is an experiment like this, made here, in Brazil, first in Rio, then  in
Sao Paulo by a guy named Michel Melamed (it seems he is now performing in
France). The performer is connected to electric terminals and these are
connected to sensors conducted by microphones. Depending on the noises made by
the audience, the performer receives slight electrical shocks. The problem is
that the texts recited by Melamed (which he writes) are extremely funny. The
audience is helpless on a continuous laughing. It becomes a weird situation.
http://revbravo.com.br/impressa.php?edit=td&numEd=89 has some information about
it, though it is in portuguese.
The play is called "Regurgitofagia" (untraslatable word, something like
anthropophagic and puking out at the same time). It is an allusion to the
famous Anthropophagic Manifesto and Theory of the brazilian Modernist Oswald de
Andrade. And, in the same time to the years of dictatorship and torture.
But it goes far more than the dark humour one could imagine. And the responses
of the audience were somewhat very different from one city to another.
best
Lucio BR




Citando Helen Thorington <newradio@turbulence.org>:

> Hello Komninos:
>
> >From what Michelle and I have seen on the blog, the answer is yes.
> Increasingly the "audience" is becoming a participant(s) in the work.  Take
> the musical work "Glimmer"  by Jason Freeman, for instance.   Freeman
> engages the concert audience as musical collaborators in the shaping of the
> performance. Each audience member is given a light stick, which he can turn
> on and off during the performance as a way of instructing the musicians. The
> information is picked up by computer software (which analyses a video of the
> audience's use of the light sticks) and the instructions conveyed to the
> musicians.
>
> The New York Times review of this piece includes the following description
> of the result: "As people flicked their lights in swirling, jabbing and
> jittery patterns, the musicians played riffs, chords, sustained tones,
> honks, squiggles and whatnot?The problem was, the light show was infinitely
> more interesting than the music. Still, the audience seemed elated by the
> experience."
>
> And this, I believe is the point -- not a predetermined composition
> perfectly played for a listening audience, but an experience for those
> participating, which in this case, as the reviewer acknowledged, delighted
> the participants.
>
> -- Helen
>
>
>
>
> on 7/3/05 1:48 AM, Komninos Zervos at k.zervos@griffith.edu.au wrote:
>
> >
> > what about audience?
> > is the auditor(audient) now more of a participant in the performance than
> > before?
> >
> > komninos
> >
> > komninos zervos
> >
> > http://www.gu.edu.au/ppages/k_zervos
> > http://users.bigpond.net.au/mangolegs
> > http://spokenword.blog-city.com
> > "Our Workplace Rights are NOT for sale."
> >
> > _______________________________________________
> > empyre forum
> > empyre@lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> >
>
> _______________________________________________
> empyre forum
> empyre@lists.cofa.unsw.edu.au
> http://www.subtle.net/empyre
>
>



___________________________________________________________________________________
Quer 50% de desconto nas ligações DDD à noite e nos finais de semana ??
Plano Opção DDD 21 da Embratel. Inscreva-se grátis.
Mais informações acesse www.embratel.com.br.