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Death as an Interval
Musical performance

Death as an Interval

Kenneth Lyons
Snapshot Performance Series, SYC Studios (Woolloongabba, Brisbane, 16-Apr-2011)
2011
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Research Statement (supplemental) Open Access
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Abstract

Film, Television and Digital Media sound art film music soundtrack performance theatre
Within a cinema or theatre context, an intermission or interval is a structured break in the program. Traditionally, incidental music was played while audience members socialised in the foyer space between acts. Dominic Dromgoole (2002) argues that the refusal of contemporary theatre directors to allow for an intermission in an evening's program may encourage patrons to preliminary leave a performance due to flagging alertness. He also suggests that with no structured intermission, the social and performative value of patrons as part of the overall event experience is compromised. In addition, Ben Winters' (2010) reframing of the traditional distinctions between diegetic and non-diegetic cinema sound, concludes that branding music with the label non-diegetic threatens to separate it from the space of the narrative. Under a performance moniker, radioShirley, 'Death As An Interval' was commissioned as a musical interlude between two acts of short theatrical performances around the theme of fatalities. It drew on the provocations above to explore the relationships between this musical form's context, purpose and characteristics with an intention to activate audience engagement directly with the composition. Presented in 5.1 surround sound within the foyer space of the venue during intermission, 'Death As An Interval' sampled and re-arranged key soundtrack elements from performances in Act One and the following Act Two into a sound collage. This challenged the traditional form and purpose of interval music by suggesting a coda to the first act while also delivering a subversive overture of sorts to the second act within its composition. The re-presentation of key themes and samples from Act One encouraged audience critique of the performances just witnessed. Introducing the audience to key sound elements from Act Two before they had seen or heard it, triggered a cognitive bridge back to their listening and interval experience while watching Act Two thereby foreshadowing the thematic and performance narrative.

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