Music

From: Milo

It’s become apparent that I am either unable to or highly impeded from perceiving the “tone(s)” of the music I composed thus far, from the distance our discussions and readings on Brechtian theater act to model. There are a number of events that have indicated this, but I will point out one or two. Ironically, I first read the section on the use of music in Brechtian theater in the beginning of April, AFTER the music had been composed, laid out on cd for the vocalists and taught to the band. My initial reaction to the reading was that I had approached it completely wrong. I hadn’t gone into the process of composition with any depth of awareness of my own relationship to and perceptions of the script, with any understanding of the “gest” I was infusing the music with in relation to my own feelings around the text, the production or anything for that matter. Simply, I took the lyrics and tried, to the best of my ability and in accordance with my own interpretations, to set them to music aligned with the themes Rachel indicated for each song, and also in accordance with the basic aesthetic qualities of the music I was introduced to as “gypsy punk”. Through the process, it seems I have been and am still so familiar with the songs that I see and hear them on a very plain level- emotional qualities, chord progressions, vocal melodies and harmonies, instrumental additions, cues, tempos and dynamics. Each of them have aesthetic qualities and contextual relationships with the text, but it has become evident to me that I am more often than not so caught up in the technical and emotional delivery of the songs, that I am divorced from both the gross and nuanced “social gest” of the music, especially as it develops within the production. Perhaps this is serving the production in the sense that SOMEONE has this perspective rather than no one, but I am unsure. After completing the above mentioned reading, I remember thinking the best thing that I myself (and we as an ensemble- if the approach to the composing was indeed misguided) could do from that point on was to learn the music with as much neutrality as possible, so that it could be treated as a blank slate, or a pillar of artistic material standing straight, balancing on its own center which could be taken in any emotional, socio-contextual direction by pushing (or merely nudging) it one way or another, with specific intent (or on a whim) to follow and inform itself with it’s own natural momentum and to serve the production in the way music so often does, informing and being informed by the other elements it functions in synthesis with. I think this still can, does and will apply. Again though, the aspect that I haven’t a real grasp on, but one with which I am willing to walk in hand (for what else can I do?), is my own perspective. It feels somehow contextually deaf, blind or muted, and in this way it relates to the character Katrin and her manner of communication.

The qualities of “Brechtian Music” that pop for me are the ironic, sardonic, sarcastic, irreverent, etc., and though I haven’t fused these into the music intentionally, their presence has been indicated to me by others. This is relieving, but it also has set me to seriously question my own capability to hear the material in an objective and super-contextual way. Grappling with this, I am lead to believe or hope rather, that my own subjectivity may hold some value in our work unless I am able to gain a much broader perspective while in the deeper trenches of musical activity. I now listen carefully to subsequent thoughts on the music, in it’s present state, in relation to the production, with an increasing awareness that these perceptions are an integral part of what informs me of how the music is to be heard, and at the same time I wonder if it is or not what is important. Does that make any sense?


Acting and Creation of Material

One aspect of this rehearsal process that has been ringing out to me with regard to the “Epic Theatre” and “A-Effect” Brecht points to is how we as an ensemble are to witness and support each other in the creation of material and the practice of our method(s). I have yet to read anything on Brecht’s work and specific things that were to have been said by one actor to another in the studio process. I don’t know if they went about discussing the effects of the individual segments they created as we do. But the question of contrivance has come up more than once and because it has, I wonder if through our process it is to prove itself not merely incidental, but instrumental. As we create small scenes to present to the group for subsequent feedback, it seems integral that we are to hear differing opinions on the work. And in that way, it is important to be able to hear and speak such things as “this seemed contrived”, and “this bothered me because”, as well as “what worked for me was”, and “that was really interesting when”. To me, it is fairly evident in our rehearsals that everything created as well as the commentary and discussion around it is for the good of the group and the production. And it is at this point that I come to an important idea or two that were touched upon during last week’s rehearsals. In the notes for last Wednesday was one indicating “never try to recreate a successful moment, no matter how tempting”. But I say we do try to recreate successful moments, if only in order to learn how to do it on a broader scale. Perhaps to learn to recreate the “creation of successful moments”, however overly semantic that might sound. What is the difference between contrivance and crafting and how does that relate to “stepping outside ourselves” in both immediate and specific instances, as well as in larger contexts of the production? Contrary to the common assumption that contrivance of material is a liability to a production, how necessary might it be not only to allow contrivance, but to contrive purposefully to some extent, and to welcome multi-lateral observation and comment on it? In a more traditional production, I would want to be told about my habits and contrivances that detract from the integrity of the show. Someone to look over my shoulder to take the “kick me” sign from my back before I go into the scene is generally appreciated. But here, we are trying to learn this “technique” which pertains specifically to seeing ourselves from the outside. I feel it is above all, a very experiential practice and my intuition tells me that contrivance is to be waded through, gently and without avoidance. So then, what might come from entering into a scene aware of our contrivance, aware of and at peace with the “kick me” sign fastened to our back? Not sure, but I’m wondering. I trust there’s value in learning how what we create appears to audiences to be contrived, but I wonder what waits on the far side, what might be found in and through it. I don’t believe Epic Theatre is solely about contrivance, but I do feel there may be compelling material waiting patiently for and even requires us to pass through that which is contrived. The question that follows for me, if I’m in any way on a track we might walk together, pertains to how we create a community to act most comfortably and with brave generosity in contrivance and to witness it with awareness and compassion, so as to set the audience to do so as well. For I think somehow that cultivating this setting for our selves will result in a like change in the attitudes, awareness and receptivity of an audience that is to some extent, in tune. And can we not but risk that they will be in tune?