Mikel Rouse Check out the interview under Listening.
Interview here.
The Idea Of North (excerpts from Gould's Radio documentaries)
Excerpt from Glenn Gould: A Life in PicturesGould's essay: The Prospects of Recording
Solitude, Exile and Ecstasy
Theme and Variations in Words and Music
A radio music-drama devised by Bruce Charlton
So why Rouse and Gould? It's a way of pointing at a destination. The vocal quality - rhythmically, poetically, and dynamically are relavent to what I'm trying to achieve in my own writing, but also get at the underlying force of my directing - a sense of musicality that I'm aiming for.
We read Hanke's Offending the Audience in the studio yesterday. Regardless of the controversy surrounding his political affiliations, we find it a worthy piece to contemplate. The text requires the actors to deliver their lines with a sustained presence. Vocally, they maintain a neutrality towards the text; they do not get in the way of the words, of the wordplay. Meaning is always already there. It accumulates. The actor is a transmitter, a radio.
Questions:
What do the words do?
And what of the audience? What is an audience?
What cultural context is specific to 1966 Germany? In what ways does that context anchor the play to a specific time and in what ways is context immaterial?
So why Rouse and Gould? It's a way of pointing at a destination. The vocal quality - rhythmically, poetically, and dynamically are relavent to what I'm trying to achieve in my own writing, but also get at the underlying force of my directing - a sense of musicality that I'm aiming for.
We read Hanke's Offending the Audience in the studio yesterday. Regardless of the controversy surrounding his political affiliations, we find it a worthy piece to contemplate. The text requires the actors to deliver their lines with a sustained presence. Vocally, they maintain a neutrality towards the text; they do not get in the way of the words, of the wordplay. Meaning is always already there. It accumulates. The actor is a transmitter, a radio.
Questions:
What do the words do?
And what of the audience? What is an audience?
What cultural context is specific to 1966 Germany? In what ways does that context anchor the play to a specific time and in what ways is context immaterial?
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