overview

The proposal

The question begins, first: how is the dance structured? Second: what is the raw material of the musician? With respect to these rather obvious initial questions the third, mainly, the live composition, can start.

There is no final solution. Live composition demands that the musician be his-her own first audience. The attention of the musician for her own responsiveness towards the dance turns awareness concrete. As the live composor, this process fulfils itself ultimately in the continuing creation of a sound environment.

Sensitivity to inner dynamics. Once the structure of the dance has been established, the responsiveness of the musician for the inner development of the dance becomes essential. Qualitatively, the dancers continue renewing their movements within the structure of the piece. The challenge for the musician is to remark, with sound, on their continued development. To meet this challenge, the musician should likewise remain open within each performance. Not settling for appearances, but instead becoming confident that behind each image there contains many surfaces. It is the work of the musician to motivate these surfaces into view, and the dancers to inspire the looking.

Der Tiger

Er kam und ging, zart und verhängnisvoll, geladen mit unendlicher Energie, von der anderen Seite der festen Stäbe, und wir alle betrachteten ihn. Er war der Tiger dieses Morgens, im Stadtteil Palermo, und der Tiger des Orients und der Tiger von Blake und von Hugo und Shere Khan, und die Tiger die gewesen sind und sein werden und zugleich der archetypische Tiger, da das Individuum in seinem Fall die gesamte Art ist. Wir fanden, er sei blutrünstig und schön, Norah, ein kleines Mädchen, sagte: Er ist für die Liebe gemacht.

Jorge Luis Borges

Published 27 March 2000