Record Players:  After Imaginary Landscape IV

 

On a record player four individuals control:  the position of the needle, the direction and speed of revolution, the left record level (or volume), and the right record level (or volume).  This can be layered for numerous records.

 

Better Farming Habits

 

Objects, possibly instruments, set up near microphones, are targets of various projectiles, thrown by members of the audience.  If a projectile strikes a performer, he/she must sing a prewritten melody (each performer may be assigned a variation in style or mode of the melody.)

            In variations, one could consider this a form of dodge ball, in which the players are “out” when struck.  Either they leave the stage one by one, or continue to play, remembering that they are disallowed from “winning”.  The piece should end when one performer is remaining.  Of course, in this situation, set design must take into account that when no performer is struck, the projectile proceeds to strike an instrument instead.

 

Bird Feeder

 

Design a tape recorder to serve as a birdfeeder (it can also serve as an arbitrary skinner box, with various levers controlling both food output and output of recorded sound.

 

Broccoli

 

A connected phone is placed on stage (this was written before cell phones became popular.)  The player will say “broccoli” if and when the phone ever rings.  While waiting, he may practice saying “broccoli” so he will say it perfectly when the time comes.  The piece ends when he has perfected saying “broccoli” or when the phone rings, in which case he answers it (the conversation may be amplified for the audience.)

 

Phoneme Events

 

The following pieces are events based on repetition of a phoneme, originally intended to be “bob”.

 

1. Each voice chooses an interval of time and a pitch at which to repeat the phoneme.
2. Various recordings of singing with the phoneme are recorded, and players have their songs recorded and tape players out, arranged on stage.  They are numbered, and also, each performer has randomly chosen another player from a hat.  At a signal, all turn on their recordings, with volume off.  The first player turns his volume up audibly, and in turn, each other player listens for the previous player’s recording (or hand signal, if this gets confusing,) and raises his own volume.  Volume is again decreased when a player gets the hand signal from the other chosen player.
3. Microphones are placed around a popular sledding area.  Sliders repeat the phoneme as they descend, and a recording is made.
4. Prepare a piano so that the depression of a key completes a circuit so that a recording of the phoneme plays as long as the key is down.
5. In a dark area, people carry signs on which the spelling of the phoneme is written.  Other people try to find the signs with flashlights.  Both groups should move freely around the performing area, and the first group shall not cover their signs, but they may hide them.  Individuals finding signs say the phoneme when found.
6.   Heat sensors trigger a recorded voice saying the phoneme.

 

Reverse Theater

 

(Written 8-21-01)

 

On a stage, a set is designed with various objects (food, magazines, etc,) with which to occupy the audience and make it appear almost as if a play is being performed on stage.  The actual performers are in the audience.  Of course, plays may be specifically designed for this arrangement, or any play may be so arranged.

 

Pentagram

 

(Is this a performance piece or a parlor game?)

 

Five people choose words without telling.  They also choose an “a” and “b” performer from among the others, without telling.  Everyone then announces his word, in turn.  As, this is occurring, each person chooses another word that is somehow related to each word of his two selected performers.  Again each takes turns saying the new word, and the process is repeated.  From the spoken words, each player tries to guess (in writing) the identity of pairs of each other performer.  Unknown to the performers should be the objective that the first person to realize that this game is too stupid to continue playing wins.

 

Lectures

 

1. “Once you’re lost, you’re encouraged to stay lost.”  (Michael Nyman, Experimental Music, Schirmer Books, 1974; p. 5.)
2. “Lost and Found”:  A collection of objects constitutes a lost-and-found.  When someone has lost something, he/she may look in the box.  If the seeker selects an item and claims to own it (which is obviously not the case,) the director will make no argument and pretend to believe that the seeker has honestly found a lost possession.
3. “The Gift that keeps on Giving.:  In a box, put an item, instructions and a paper and pen.  Sign the paper and hand the gift to a stranger to do likewise.”
4. “Ferry Street Blues”:  Go away, doubt you will return, and then return.

 

Dance

 

In a large enclosed area is a frog.  A unicyclist will try to run the frog over.  The dance is completed when this is accomplished.  TO make this a game, the performer simultaneously dribbles a basketball.  He wins if he runs the frog over.  He loses if he accidentally hits the frog with the basketball.

 

Nostril Seizure

 

On stage a couple is making out.  Perhaps into the piece other couples enter and do likewise.   A little into the play a cop enters and runs around, jumps, makes noises, etc.  After a while, the music begins, which consists of moaning and drive-thru fast food orders.  A little while later, incorporated into the music are fragments of Dr. Gene Scott saying, “That kind of directing is free directing.  I want a slave sitting up there; don’t anybody think I’m joking.  Not my slave!  A slave to the purposes of this festival.”