The example below comes from the June performance lab. We experimented with using movement as a way to explore lyrical vocal expression in the musical shape of a Lied. The aim was to find ways of detaching the visual impression of the performing bodies from the performing actors and instruments, in order to create more space for action, or discretionary power for the improvisers. This was a way for me as singer to try to change perspectives, or positions as soloist, from within a situation to outside it. The second part of the clip is an impromans inspired by the word ’army tank’ (stridsvagn) given to us by the light designer. I chose to take the position as narrator at first, which made it easier to perform in this format, depicting a village destroyed by war, where one girl managed to escape alone.
This example comes from a session in November some days before the performance. ”Nu has du mir den ersten Schmerz…” is the final song in Robert Schumann’s song cycle Frauenliebe und Leben (text by A. von Chamisso) from 1840, where the vocal persona (the character) has recently become a widow.
Nun hast du mir den ersten Schmerz getan, Der aber traf.
Du schläfst, du harter, unbarmherz’ger Mann, Den Todesschlaf.
Es blicket die Verlass’ne vor sich hin, Die Welt ist leer, ist leer.
Geliebet hab’ ich und gelebt, ich bin Nicht lebend mehr.
Ich zieh’ mich in mein Inn’res still zurück, Der Schleier fällt.
Da hab’ ich dich und mein verlorenes Glück, Du meine Welt!
(A. von Chamisso)
Now, for the first time, you have brought me pain, and it did hurt.
You sleep, you hard, unmerciful man, the sleep of Death.
The abandoned gazes around her, the world is empty, so empty.
I have lived, and loved, but do not live anymore.
I withdraw into myself, and lower my veil.
There I see you, and our lost happiness, you, my world.
Example from dissertation
This example comes from the performance lab in at the research symposium Tacit or Loud at Inter Arts Center in November 2014.