This post will be in English for the benefit of our (potentially) international audience and the artists featured here.
In January 2018 I collaborated with the Living Room Theatre in Sydney, Australia on a project called When Lola stayed too long. Its director, Michelle St. Anne, has a unique way to integrate images, movement and sound and has collaborated with great composers and musicians to arrive at the unique theatrical creations that are the result of her directorial language. In the lead-up to the performance of Lola three of her musical collaborator, Alister Spence, Mary Rapp and Alexandra Spence gave a concert – based on and inspired by music devised for Michelle’s theatre shows. While concerts with film scores are common place now, it is rare to hear incidental music, created for theatrical performances, in a concert setting. Given that the event was beautifully documented, here is an opportunity to see such a concert.
There is also a mid-show conversation (from 29’10“-59’40“) between Killian Quigely, Michelle St Anne and myself, about the nature of her work and the role of sound and music. I also conducted a pre-show interview with the three musicians, which I hope to publish in a future Blog entry.
Here are the official programme notes of the event and the video:
What Lola Heard: Theatrical Sounds from Climate Change Performance
11 January 2018, Soundlounge – Seymour Centre, Sydney
This event brought together internationally acclaimed improvising musicians in conversation with Professor David Roesner, and Michelle
St Anne, who discussed the theatrical lens of Composed Theatre, and how the approach could lend itself to theatrical knowledge translation.
The concert component of the event provided the audience with a glimpse into St Anne’s collaborations with musicians, which portray the musical embodiment of climate instability and climate knowledge. It featured the field recordings from the community engagement workshops, recorded by the SEI team, which composer Alexandra Spence manipulated live on stage to create a sound tapestry.
‘…where improvisational music scrambled my senses, rendering me thrillingly aware of the power of unexpected arrangements of sound to reorganise my world.’
– Killian Quigely, Sydney Environment Institute
Michelle St Anne, David Roesner, Killian Quigley and Lian Loke (MC)
Prepared piano and samples
Cello, double bass and voice
Field recordings, tapes and amplified objects
(from: The ‘Anastasia’ Project ― Representing Heat through performance. An Arts Issue by the Sydney Environment Institute, SEI Magazine 01/2018)