Name: Reinhard Ideas: A timeline of major technological breakthroughs. Gutenburg, the zero, oil paint, written language. Impact?
Name: Reinhard again Ideas: A duet between two youths...an online romance. But one (or both) is not really whom they seem! Morph into letcherous lurkers.
Name: R once again Ideas: A bioengineered brain that connects us all to a central nervious system. Everything changes, nothing remains the same. Nothing changes, everything remains the same. Rossily Roffman
Name: Ideas:
Name: Ideas: procession of performers, vidoe it live, screen on stage in real time
Name: steve kraus Ideas: final performance a collage en experience of working with Troikaranch for the entire week. include spontaneous performance, simultaneous perf., clinics, workshops, etc... edited on the spot
Name: moser Ideas: drumming presentation .5 hour
Name: Ernie Pontiere Ideas: Processional singing an African song with percussion ensemble. (recorded) 300 singers singing Handel's "Hallelujah Chorus" (recorded) Berlin/Tozier writing an original piece for 6-8 voices (live and recorded)
Name: moser Ideas: video handbell ringing for background
Name: Howard Moser Ideas: Orph ensemble performance in the backround
Name: Ideas: pueblo middle school band performance, a recording of them playing use it as a background audio
Name: moser Ideas: traditional performances and galaries in the foyer
Name: Moser Ideas: Canon with simultaneous live and taped performers.
Name: Pat Bauer Ideas: Development of a band from the beginning to end (recorded and live)
Name: Ideas: utilize dance team from the band for a special presentation
Name: Moser Ideas: Dramatic vignettes (see John Woffington); add music and lighting effects and video effects to change them.
Name: Ideas: a story telling with a movement to it - good for elem. interpretive dance, use of instruments
Name: Ideas: throw paint into the air-videotaped
Name: moser Ideas: quick history comparison of music and art and architecture and style-clothing
Name: Ideas: Line up students like a keyboard and have them sing or vocalize their pitch as cued; could have pitch synthesized into their ears so that they do not forget it
Name: Ideas: laser triggers drum sounds (or any sounds) incorperating live performers/dancers kids can trigger sounds by motion through the lasers -violin stroke - use of mutes either a prescripted idea or improv. (High/Middle School jazz band)
Name: Ideas: mime as a non-technology user
Name:
Use a cyclorama for projection with the print images in front and behind.
Name: Dawn Stoppiello
In terms of an idea we have been thinking about how computers are influencing the lives of younger generations. Asking the question of how the student might evolve into a computer-human hybrid during the next century. How would their lives be altered, how would they imagine themselves in the future. They can run wild with their imaginations on this. Dream up futures based on their real lives. We could have them write short paragraphs describing a possible future then pick a few stories to work into the performance. Then after we have decided on which stories will be in the piece we would have the composers work together to make the music, the actor/dancers work on movement and text and the visual designers work on video and imagery. We would need to be in regular communication, having the students send us their work as it is progressing, so we can be ready to integrate all the elements, including the interactive environments, when we arrive in PA.
Name:
The overall theme might be how we as a race grow and mature with our tools and forms of human interaction. We play out the human life cycle on a global scale, from youthful exuberance to adolescent confusion and conflict to mature coherence, integration and purpose.
We can begin with playful aimless contact between protagonists (musically two notes, a binary code) contact, exchanges, fun but it can go bad, hit a sour note. Things may not be what we expect. The adolescent quest, the rakes progress,(globally... cultures, ideas, beliefs, expressions, songs, symbols, visions in conflict). We surf, we explore, make contact, find conflict, confusion, cacophony, the tower of Babel. Building to a cataclysmic climax.
Silence, darkness.
The theme re-emerges (the two note theme, the binary code), the prodigals' return a glimmer of light, some clarity, some coherence, other themes join in, this time in harmony. The technology is integrated and humanized. Fundamental human relationship prevails.
Old story, everyones story.
We also talked about layering the forms of human expression and communication, presenting them simultaneously throughout the piece. Beginning with the most concrete human interaction/expression in the form of the human figure (live dancers the human voice, video images). Then increasingly abstract, symbolic expressions- music, pictographs, cultural symbols, letter forms, binary code. (see the studies for the backdrop, animations and video clips). Love, joy, curiosity, misunderstanding, doubt, anger expressed through our communication technologies.
Name: Mark Coniglio, Troika Ranch
Here is the outline that we have come up with for the piece with the students. It is of course general, but is designed primarily to give some sense of the energy that we are looking for overall and as a starting place for aural/visual images and movement.
I am going to suggest a working title for the piece of
Contact(less)
as I think the idea of moving from human touch/contact, to loss of the contact, to some reaffirmation of the importance of touch is an interesting theme that the students (and we) can hang on to.
Structure:
------------------------------------------------------- Part I - The Embrace (2 Minutes)
We begin with two people on opposite sides of the stage, no media. They look at each other for a few moments, then move to the center (gradually or fast?) where they embrace. Probably there an ambient background music begins at this point. There may also be some kind of visual background that appears... something organic.
We let them be, standing in their embrace, for just a bit longer than you might expect. Then several other people (the rest of the cast?) run in from opposite sides of the stage to embrace. We let this sit for a moment longer...
------------------------------------------------------- Part II - Loss of Contact (1 Minute)
We hear the sound of a modem or some other sound that is recognizable as technological. Then there is an explosion of people, sound, image, and light as the couples let loose of each other -- perhaps they begin to look around them, trying to figure out what has happened. Again, there should be loads of information for the audience on all sensory planes.
Sounds: Music made from machines Visual: Superfast edited images of technological and/or machine images Movement: Those who were in the embrace are floating in a void, lost, wondering what happened while others may perform fast moving, "digital" gesture phrases.
------------------------------------------------------- Part III - The History of Touch (9-10 Minutes)
In this section, we will develop a wedge or "bolero", where we fall back to a soft, repetitive music that intensifies over time. (It would be good for the music students to hear Ravel's "Bolero" as an example of this idea.) Accompanying this will be visual and physical (movement) representations of touch that begin with organic physical contact and evolve over time into communication via electronic means, or other ways in which the ability of the performers to make physical contact is inhibited. By the end of this section, we should feel a sense of loss for the initial embrace that we witnessed -- and we should reach a cacaphony of sound, image and movement that was predicted by what we saw in Part II.
In general, the progression is from the organic to the electronic, from one of contact to one of distance.
Visual: Images of touch and/or contact from the past (old paintings, cave drawings, old films, body parts shot to make them look like landscapes?) gradually turning into electronic representations of the body, live video of people on stage superimposed on electronic/technological backgrounds. The two polarities of image should range from the organic/corporeal to the electronic/ethereal. This distinction can be shown not only by the image itself, but also with how it is shot/edited.
Sounds: Musical phrase begins simply, with the sounds of traditional instruments (or better yet, real instruments) as well as perhaps the sound of breathing/crying/laughter, but over time and repetition, new sounds are added. Samples of machines substitute for the sounds of instruments -- by the end we have lost all reference to the organic and the music has grown into a "ballet mechanique" of electronic and sampled mechnical sounds.
Movement: We move back to touch at the beginning of ths section - Dawn will orchestrate this. The vocabulary will also include things like people doing semaphore (a la sailors in the navy - communication through movement), perhaps people sending morse code messages with lights (again, a la the navy), people walking through the stage on their cell phones. Later the movement will return the the "digital" gesture phrase introduced in Part II. We may want to make digital videos of some of the organic movement phrases so that they can be "scratched" (a la a DJ and vinyl records) with the video processing software and be appropriated into the electronic.
------------------------------------------------------- Part IV - The Return
After reaching the peak of part III (a final loud and mechanical moment, a musical unison perhaps though not a movement unison, devoid of touch) everything breaks down for a few moments -- musical phrases are flying around randomly, dancers move without any relation to each other, perhaps the visual image is a grid or some other mathematical image (parabolas?? circle/square/triangle??)
In the center of this two people embrace. There is a set dance phrase that they do with each other, then they break apart and embrace two others, and the phrase repeats. This grows slowly until all of the dancers are performing this embrace/move/split/embrace sequence. The music is persistent but more gentle than before, with a new unison repeating rhythmic figure performed by both natural sounding and electronic sounding instruments. The visual images are of the electronic and the organic combined in someway - either by placing the electronic in natural settings or organic objects in electronic settings (a machine made of dirt? a hand wrapped in wire or metal or tin foil??), in other words, some kind of synthesis of the electronic and the organic.
The piece ends when all of the performers are embracing again and the music draws to a close. Perhaps the students will move out to embrace members of the audience in the final moments.
Name:
idea
Name: mc
for the first two minutes when the people are at the opposite positions on the stage, maybe a pulsing beat slowly at first, a really low drum noise, and the closer they get to each other, the faster the beat gets. it might sound like a heartbeat. maybe with the sound of the beat, a red image, like a faded out circle could come on the screen and fade then show up at a different spot on the screen and so on with the beat.
Name: The Light Man
bring several large, ominous devices onstage from the recessed dark corners, and have them surround and cut off a person from others who are (were) standing around him/her
Name: THe LiGHT BoY
have an idividualwith his eyes and ears covered with a blind fold typing at a computer in the center of a scene.
Name: Elissa Biondi
One scene could be filmed of a family that never eats dinner together. For instance, someone could get a phone call while at the dinner table, another could leave for a sports practice, another could be in a different room watching television or playing games on the computer.
Also, a person could have television screens reflected in their eyes, symbolizing their loss of touch with the real world.
Name: Dave Archer
Possible video clip of two to three people standing in a black void, illuminated with a light from above each of them. All characteristics would be blacked out, and they would each be distanced by at least arms length. The background would be a green black contrast (images of internal circuits). This would be used to demonstrate the loss of personality (the loss of characteristics in the individual) and the loss of touch (the distance). This would be in theory a physical representation of a chat room (i.e. the circuits). or A video clip of someone trapped inside of a computer, with the indivdual sceaming and pounding. This would be a good illustration of the isolationism caused by technology.
Name: Paul K
Here is one idea, there could be one person in the middle of the floor whose is trying to communicate with other people as they walk by him. The other people however just ignore the one guy in the middle and walk by him like he does not exist.
Name: Mark Kelley
For the loss of contact, have a person chatting with someone else on instant messenger or something and have instant messenger disconnect and do tons of weird things
Name: Mark Kelley
For the loss of contact, have a person chatting with someone else on instant messenger or something and have instant messenger disconnect and do tons of weird things
Name: Brennan Mazur
Videotape the shadows on the wall. For example, two people shaking hands, then suddenly breaking up.
Name: Bill Walls
BACK ROUND.
Video tape a traffic scene at night, so the camera picks up the lights of the cars flying by. Then speed up the video and input it as a possible backround for a scene. I dont know if this is what you were looking for but, thats an idea.
Name: Julia
Perhaps if you want to show the loss of contact, you could have an image of a person trapped inside of a tv or computer screen. Also, maybe have some emphasis on being alone within a crowd (like having one person stand still and many others around them walking busily not caring).