Nye Tand Eh? 

Lead artist/researcher: Dr. Paul Barker
Singer-actor Performers: Francis M. Lynch & James Meek.

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Nye Tand, Eh? is a large scale project which attempts to reinvent aspects of opera. Firstly there is no text, and secondly the orchestra is optional. The project eventually will last about two hours and use seven singer-actors. The ambitious nature necessitates small outings of the material, such as this, for just two singers lasting a few minutes duration.

The work does not attempt to remove character and plot from the operatic tradition. Rather it develops two contemporary trends and integrates them consciously into the traditional fabric. The search for an international language of theatre, exemplified for instance by Ted Hughes and Peter Brook in Orghast during the 70´s lies behind the development of vocal sound into its own musical language, which has been one of my preoccupations for many years. The other influence is the IPT or Integrative Performance Theory of Dr. Experience Bryon, which follows Performative Theory in so far as suggesting that the responsibility for meaning in any performance lies with the performer.

To this extent, a solo and a duo from the larger work will be presented several times in contrasted ways, with the aim of:

  • Demonstrating the inherent strength of inferred narrative
  • Complicit authority in postmodern and transmodern contexts: in this case spirals of possible meaning emanating from the work, which the performer selects and elaborates, allowing the audience a new, fresh and subjective experience with different performances;
  • Blurring of roles between author/performer, material/ownership, meaning/interpretation;
  • The dispensability of language opens more doors of theatrical communication in the global world than it closes: relationship to traditions e.g. Comedia del Arte, and Dario Fo's Grammelot.
  • The definition and demarcation of character and narrative are not dependent on text.
  • Music and language are symbiotic in the sense that they are interchangeable and equally inter-dependent as well as dispensable forms of communication.
  • The impossibility of pure abstraction in music and theatre and its subversion into narrative by imagination, whether through the performer or the audience.


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