My original sound score for this dance piece reflected the wildly divergent approaches in the two halves (or “worlds”). In the first, sonic fragments were culled from a long list of movie scenes, old television commercials, YouTube videos, pop songs, nursery rhymes etc., gathered by the dancers. These short bursts of micro-edited media were synced to precise cues – shards of not-quite recognizable sonic detritus colliding with elaborate onstage recitations.
This experimental, interactive theater piece was created by the cast, based on dozens of interviews with current and former residents of communes in the Pacific NW. My sound score used only the sounds of the human voice – from chanting, singing and toning to whispering, hissing and glossolalia. Vocal recordings were sampled, looped, filtered and processed to create a wide range of textures, from shimmering drones to New Age melodies, occasionally merging with the voices of the actors. Tones emerged from a glowing “sound box” in the middle of the performance area and expanded out to fill the room on a four-channel system.
My original sound score for this dance performance was developed through an extended series of improvisations with the company, in rehearsal and in-progress showings at various venues. I asked Linda to keep an audio diary, collecting the sounds of family events, passing conversations, interactions with strangers and ordinary environments – specific moments in time. These everyday sounds were mixed live for each performance, along with ambient drones, airy hisses and musical textures. Additional sounds played from multiple on-stage televisions displaying video documents of the choreographic process.
This dance performance, created and co-directed with Linda Austin, was based on a “forgetting” of Seijun Suzuki’s 1967 cult yakuza film, Branded to Kill. Themes, images and language emerged in our thinking through and half-remembering the freewheeling surrealism of the film. Against the back wall, projected fragments of video narrative and noir imagery flashed amidst the dancers.
My original score for this dance piece featured 4-channel sound, spread throughout a reclaimed warehouse. Audiences were seated in one of three performance areas while simultaneous dances could be glimpsed through gaps. Three times, audiences switched areas and the repeating dance was witnessed from a new perspective and with new music.