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Welcome page > FAMU > Department of Audiovisual Studies > Composing vs. Compositing and Improvisation

Composing vs. Compositing and Improvisation

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Code Completion Credits Range Language Instruction Semester
373MCVC Z 1 4/H English summer
Subject guarantor:
Miloš VOJTĚCHOVSKÝ
Name of lecturer(s):
Miloš VOJTĚCHOVSKÝ
Learning outcomes of the course unit:

Workshop Objectives: the difference between COMPOSING and COMPOSITING

exploration of the difference between COMPOSING/COMPOSITION and COMPOSITING/COMPOSIT-TION.

Explore the concepts of ?the found 'thing'? via process and intention and, especially, the use of theatrical structures in composition - ie the 1 act - 6 act theatrical structures

1.What is the difference between finding some 'thing' idea, sound, movement, word or phrase and/or creating some thing?

Are not all 'things' found?

If so where are they found?

If so how are they found?

If so why are they found?

What is the process of finding and the finding of process?

We ultimately rely on intention to enable the ability to discover outcomes and consequences that were neither anticipated nor foreseen. How can the intention be ?honed??

2. 'Compositional improvisation' is knowing:

WHAT you are going to do. what needs to be done... but not HOW

Consider the difference between tactics and strategy: Tactics is knowing what to do when there is something to do

Strategy is knowing what to do when there is nothing to do

--- Employing the devices inherent in Theatrical structure to enable the development of an emotional narrative in ?non-theatrical?performance.

--- Consider the differences between collaboration and cooperation.

THEATRICAL STRUCTURES

1 act [ala beckett] -- this is happening now (but what happened before this?)

2 act [modern western theatre] cause & effect ? something happens > and so this happens.

3 act [sonata] -- exposition > development > recapitulation

thesis > antithesis > synthesis

4. act [japanese - Jo Ha Ky?] = modulation & movement >

begin action / action slowly speed up / sudden swift conclusion

5.act [chinese/japanese - Ki Sh? Ten Ketsu] = twists & turns

introduction of elements / twist & turns of elements / crux of story -> climax / result

6.act [Aristotelian, classical theater] - exposition > rising action > climax > falling action > conclusion

Exercises

EMOTIONAL concerto

Each player is endowed with some emotion.from this range of 10 contrasting emotions>

fear / awe -- anger / serenity -- sadness / happiness

depression / amusement -- distraction / acceptance

CONDUCTED SONG

The goal is to have the players create a 'song' that moves seemlessly from one player to another.

The goal of the conductor is to make the song flow as well as possible.

when the conductor cues the entry of a new player

the new player must try to continue on as though there was no pause.

The key is listening. It is a listening exercise.

The players that are not speaking must be listening.

They all must have a next 'part' ready to go, and only if they are listening will that part make any sense.

The conductor cues the players in a different order 2 or 3 times

ENVIRONMENT BUILD

The exercise helps with visual listening and attention to detail.

An environment is chosen.

list of environments

outerspace / factory / farm / school / prison / mountain meadow /

sea shore / church / graveyard / riverbank / bar / music club /

war / train station / city square / the ocean / the radiosphere /

In turn, players come 'on stage' and sonically interprets/evokes one object or aspect in or of the environment.

Each following player also adds an object/aspect to the environment, but before they do so they must copy each object/aspect previously created.

So the first player gets it easy,

but the last player has to copy all of the previous objects/aspects

in the environment before adding theirs

Once all players are engaged LOOK FOR AN ENDING

Keep it short and repeat until each player has begun the exercise

ENVIRONMENT SHIFT

with all players 'on stage' an environment is called out and players create an environment as quickly as possible

The players can be objects in the environment, sonic aspects, or characters typical to that environment

but must be attentive to what choices other players are making

such that each player is expressing one unique aspect of the environment.

for example -- at the seashore not everyone are the waves

Once the environment has been established and allowed to 'mature' another environment is called out and the players must create as seamless a transformation as possible into the new environment, establish it and then LOOK FOR AN ENDING

Mode of study:

Module instruction

EMOTIONAL concerto

Each player is endowed with some emotion.from this range of 10 contrasting emotions>

fear / awe -- anger / serenity -- sadness / happiness

depression / amusement -- distraction / acceptance

CONDUCTED SONG

The goal is to have the players create a 'song' that moves seemlessly from one player to another.

The goal of the conductor is to make the song flow as well as possible.

when the conductor cues the entry of a new player

the new player must try to continue on as though there was no pause.

The key is listening. It is a listening exercise.

The players that are not speaking must be listening.

They all must have a next 'part' ready to go, and only if they are listening will that part make any sense.

The conductor cues the players in a different order 2 or 3 times

ENVIRONMENT BUILD

The exercise helps with visual listening and attention to detail.

An environment is chosen.

list of environments

outerspace / factory / farm / school / prison / mountain meadow /

sea shore / church / graveyard / riverbank / bar / music club /

war / train station / city square / the ocean / the radiosphere /

In turn, players come 'on stage' and sonically interprets/evokes one object or aspect in or of the environment.

Each following player also adds an object/aspect to the environment, but before they do so they must copy each object/aspect previously created.

So the first player gets it easy,

but the last player has to copy all of the previous objects/aspects

in the environment before adding theirs

Once all players are engaged LOOK FOR AN ENDING

Keep it short and repeat until each player has begun the exercise

ENVIRONMENT SHIFT

with all players 'on stage' an environment is called out and players create an environment as quickly as possible

The players can be objects in the environment, sonic aspects, or characters typical to that environment

but must be attentive to what choices other players are making

such that each player is expressing one unique aspect of the environment.

for example -- at the seashore not everyone are the waves

Once the environment has been established and allowed to 'mature' another environment is called out and the players must create as seamless a transformation as possible into the new environment, establish it and then LOOK FOR AN ENDING

Prerequisites and co-requisites:

none

Recommended optional programme components:

none

Course contents:

This workshop is applicable for anyone working in a time-based art form: sound, film/video, dance/movement, performance or poetry.

Recommended or required reading:

none

Planned learning activities and teaching methods:

Creative workshop

Assessment methods and criteria:

workshop attendance

Course web page:
Note:

Lecturer's Curriculum Vitae: Z'EV (Stefan Joel Weisser, 1951) is a musician, sound and visual artist, instructor and poet. He is considered to be one of the pioneers of so call industrial art. His work in writing, image and sound was influence by a study of the Kabal and African, Afro-Carribean and Indonesian music. He studied also traditional Ghanan music, playing on the Bali Gamelan and Indian rhythmic music systems. After studies at Cal Arts he focused primarily on sound poetry. Since the end of the 1970s he has been developing a ideosyncratic performance technique and has made musical instruments from metal, stainless steel, titanium and artifical substances. At that time he designated his performance as „wild style.“ In 1978 he began to perform under the name of Z'EV. Beginning in 1984 along with builing DIY instruments, he began more intensively to play more on percussion instruments. Z'EV's performance in Western music terms because of its raw elementary acoustic events is often described as cacophonic and is close to trance arts. Z'EV does not consider his performances as solo performances and primarily as interaction between his body, thoughts, instruments, space and the public. His music has been published by C.I.P., Cold Spring, Die Stadt, Soleilmoon, Tzadik Records, Subterranean and Touch.

http://www.rhythmajik.com/

Veronika Resslova studied at the Academy of Fine Arts in Prague. Currently she is continuing with doctoral studies at Brno's FAVU.

She creates installations for particular places which is defined through light, sound, writing and drawing. She creates completely new visual situations. Recently she is dedicated to a series of projects making a theme out of daily light.

"I use a given architectural situation - Under the floor of a location is the body of a Baroque cellar covered with glass and lighted with a light bulb. I link the artificial and light of day through the prism with tracing paper, so the visible blending of their intensity and dynamic of the light of day, which artificial light doesn't have. Extending the light of the day through artificial light we lose the natural sensitivity to circadian rhythm and get a series of artistic and natural light without end.?

http://www.veronika-resslova.cz

Further information:
This course is an elective for all AMU students
Schedule for winter semester 2014/2015:
The schedule has not yet been prepared
Schedule for summer semester 2014/2015:
Date Day Time Tutor Location Notes No. of paralel
20.02.2015 13:00–18:00 VOJTĚCHOVSKÝ M. Institut intermédií - Dejvice
 Lecturer: Z´EV, 13-18 at IIM, ČVUT, Prague 6 paralelka 1
The subject is a part of the following study plans:
Generated on 2015-06-16