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Scott Gibbons'
[LILITH]
sound score for Romeo Castellucci's
Genesi: from the museum of sleep
a Socìetas Raffaello Sanzio production
with:
Maria Luisa Cantarelli
Araz Gamzaev
Moukhtar Goussengadjiev
Renzo Mion
Lamine N'Diaye
Franco Pistoni
Silvano Voltolina
and with:
Teodora, Demetrio, Agata, Cosma, Sebastiano and Eva
Libération
(FRANCE):
"leads audiences into a trance-like state as though on the brink
of the unconscious, where the brain, free of all its inhibitions, creates
its own images, without concern for their morality or coherence."
Mark Fisher, The
Herald (UK):
"Subtitled 'From the Museum of Sleep', it is the closest
a piece of theatre can come to a nightmare. Like a nightmare, any attempt
to describe its impact crumbles into fragments of impotent language. The
all-consuming images that had such power, such meaning, such fear when
you experienced them subconsciously lose their resonance when the conscious
mind steps in. David Mamet has described theatre as a way of dreaming
in public, an idea which Castellucci takes to its most abstract and compelling
extreme."
Co-Produced by Holland Festival-Amsterdam, Zuercher Theater Spektakel, Hebbel Theatre-Berlin, Le-Maillon Théâtre de Strasbourg, Perth International Arts Festival Western Australia, Centre Dramatique National / Orléans-Loiret-Centre, in collaboration with Bonci Theatre-Cesena
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"Genesis scares
me more than the apocalypse: the terror of endless possibility, the open
sea of potential. I get lost - the Book Of Genesis goes beyond the
imagination, because it comes from chaos, its substance is chaos -
like mine and yours."
- Romeo Castellucci
When Romeo Castellucci
conceived a piece about the book of Genesis for his theatre company Socìetas
Raffaello Sanzio, he approached Scott Gibbons for ideas in creating a
unique audio experience for the piece. Castellucci had previously used
music from Gibbons' Lilith recordings for the masterpiece Giulio Cesare,
and the proposal to work together on Genesi was an experiment to
see what was possible in creating a new kind of sound score specifically
for a new kind of project.
Much of the sounds
developed for Genesi: from the museum of sleep were granularly synthesized
from photographs inspiring Castellucci's direction (height mapped to pitch,
color to stereo position, brightness to amplitude, etc). Granular synthesis
technology was only just becoming practical due to the faster processor
speeds of the new computers at this time, and this was one of the first
major works to be created with such extensive use of the technique. Selections
from the work were showcased at several electronic music festivals in
the USA. Castellucci had also some pieces in mind from Gibbons' repertoire which
were remixed specifically for the Genesi project: sounds of rocks being
rubbed and smashed together from the album Stone (Sub Rosa: 1992),
vocal and astronomical sounds from the album Orgazio (Sub Rosa:
1994) and sexual sounds from the album Redwing (Sub Rosa: 1994).
These were natural sounds from organic sources, yet Gibbons' treatment
of the recordings in his sound studio resulted in something altogether
different...
The result is a collection
of sounds which are impossible to place, music which is impossible to
hum, and an unsettling atmosphere which is as alien and terrifying as
the possibilities inherent in The Creation itself... possibilities as
varied and real as a child's tea party to the terrors of the
Holocaust.
After Genesi,
Gibbons returned to work with Castellucci and Soc. Raffaello Sanzio on
Il Combattimento; which saw a collaboration
between Gibbons' avant-garde
approach to composition and Roberto Gini's Ensemble Concerto, who have acheived
top level in the field of Medieval music. Together, they reworked the
timeless operas and madrigals of Monteverdi into a sonic work which has
been compared to a person's listening to music for the very first time,
while still in the womb.
For the present, Gibbons
continues to do research with the Socìetas on Tragedia
endogonidia in the direction of an "organic theatre"
which is constantly mutating and advancing, like an organism which explodes out of
the shell of theatre to embrace new combinations of contemporary and classic
art.
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