... Presentation - Conception - Top
The idea of this show is to merge two distinct languages in a common organic dimension.
Twenty 1-minute long movies in a widescreen over the stage, with their soundtracks played live over the same stage.
Twenty 1-minute long songs played over scrap objects, illustrated by twenty movies projected over the musical action.
An overlapping of rhythms and colors, the breaking of the boundaries between sound and image.
... Synopsis - Conception - Top
The show was born of the partnership between Club d'Essai and video director Munir Klamt, due to the strict relation between the group's dramatic-musical work and the historic references of the director's surrealist cinema.
The idea of overlapping a visual media came from the extreme aesthetic aspect of the group's concrete music, generated exclusively by non-musical objects, in this case iron and plastic drums, chains, stones, eletric drills and electronically altered natural sounds.
The show also reckons partially the spirit of the silent movies, when its music was played live, usually by the piano. In terms of both aesthetics and sound, the idea is to subvert these origins, bringing them to a modern context.
... Synopsis - Presentation - Top
Both the movies and their songs are conceived parallely, making use of references to the first half of the 20th century.
The movies have been written and directed by Munir Klamt. The director has worked inspired by the 20th century's modernity, politely based in movements that suffered so much in such a mimetic end of century. Buñuel's Surrealism, ironic, decadent ('The Discreet Charm of the Bourgeoisie', 'Terminating Angel') and fantastic ('The Dog Andaluz'). The implacable formal organization of Mondrian and his final sensuality. Dandism and the gambling of Duchamp, who casts his shadow in all these movies with 'The Big Glass'. Expressionism with its adorable dialectics. Wiene's 'The Cabinet of Dr. Caligari', schizophrenic and architectural. Our friend Kafka of 'Contemplation' and 'The Rural Doctor'. Yet another weird neighbour, H.P. Lovecraft and his unbelieving scientificism. Júlio Cortázar, certainly the stepfather of all of this, for the arranging games and the fragility of the combinations.
To sustain such plans it would only be possible to use a music capable of recreating extreme ambiences. In this case, something grounded in experimental music from the 40's and 50's, strictly following atonal principles, minimalistic rules and a severe and (only) apparent lack of dexterity. Playing rhythmic pieces live and thus taking to the tridimensional plan the actions of the screen, interfering with them, no longer allowing dimensional distinction.Soon more details about the show:
The movies' screenplays Details of the songs Production status