The "sacred art" is commonly used to express what cannot be said but only felt. Pressing mute on a Horror film makes the fear more bearable. Chart Hits transport us to a land of infatuation, joy and nostalgia. But what about the role of musicians and composers in a time when music has become a way of emotionalising a neoliberal means of production, a consumable resource used to improve performance? Are musicians no more than slaves turning a cog that helps keep a machine running? "Music as emotion" confronts the image of music as an emotional transmitter dependent upon the subjective perception of a composer, calling into question whether such a clear and reciprocal relationship is possible or indeed at all meaningful. Reinholdtsen’s work allows musicians to overcome these roles, generating material from scepticism of today's musical environment, but never losing the fundamental desire to make music. Such questions are underlined theatrically by attempts to create a space which can overcome stereotypical performance practices, allowing the absurd, the intellectual and the playful to override any neoliberal power grabs.
The "sacred art" is commonly used to express what cannot be said but only felt. Pressing mute on a Horror film makes the fear more bearable. Chart Hits transport us to a land of infatuation, joy and nostalgia. But what about the role of musicians and composers in a time when music has become a way of emotionalising a neoliberal means of production, a consumable resource used to improve performance? Are musicians no more than slaves turning a cog that helps keep a machine running? "Music as emotion" confronts the image of music as an emotional transmitter dependent upon the subjective perception of a composer, calling into question whether such a clear and reciprocal relationship is possible or indeed at all meaningful. Reinholdtsen’s work allows musicians to overcome these roles, generating material from scepticism of today's musical environment, but never losing the fundamental desire to make music. Such questions are underlined theatrically by attempts to create a space which can overcome stereotypical performance practices, allowing the absurd, the intellectual and the playful to override any neoliberal power grabs.
Composer: Trond Reinholdtsen
Directors, Stage-design, Costume Design, Video: Georg Schütky, Lea Søvsø und Vincent Stefan
Musical Direction: Antoine Daurat
Dramaturgy: Michael Höppner
Artistic Director: Evan Gardner
Production: Anna Crespo, Rachel Libby-Mills
Violin: Mia Bodet
Violoncello: Ulrike Ruf
Guitar: Allen Smithee
Clarinet: Jone Bolibar Núñez
Accordion: Sergey Tchirkov
Piano: Alba Gentili-Tedeschi
Performance: Antoine Daurat , Günter Schanzmann, Georg Schütky, und Lea Søvso
The rich text element allows you to create and format headings, paragraphs, blockquotes, images, and video all in one place instead of having to add and format them individually. Just double-click and easily create content.
A rich text element can be used with static or dynamic content. For static content, just drop it into any page and begin editing. For dynamic content, add a rich text field to any collection and then connect a rich text element to that field in the settings panel. Voila!
Headings, paragraphs, blockquotes, figures, images, and figure captions can all be styled after a class is added to the rich text element using the "When inside of" nested selector system.
.jpg)
.jpg)
.jpg)
.jpg)
EikeWalkenhorst(1).jpeg)
