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Posted by Jonas Baes on October 09, 19101 at 05:25:23:
In Reply to: Baudrillard and the "anihilation" of the audience posted by Jonas Baes on August 03, 19101 at 00:30:40:
Oh, I must be the only one talking to myself...did I misspell "annihilation" or was I merely afraid to use that word of destruction and death in its right "format"? Just to follow-up, my fascination for Baudrillard's ideas are, perhaps, (I hope?) expressed in my music SALAYSAY, which I described very briefly in the last posted message. There are three "movements" in this work...each performed in different parts of a program, and not one after the other. The first "movement" should be rendered at the beginning of the program, the second, at the middle of the program and the third, as the last number of the program. The composition could be likened to the front cover, the middle hinge and the back cover of a book. SALAYSAY in Pilipino means "story" or "narrative". But this musical composition does not pay much attention to a "story" itself, but to "tell a story about telling a story (called "story")". In the first movement entitled "SIMULA(cra)" [after "simula = Pilipino, "beginning"), a male singer sings in a woman's voice, while chimes, bamboo scrs, abd bean pod-rattles simulate wind, birds, and insects of (now ded) Southeast rainforest. In the seond movement, called GITNA, three percussionists are deployed among the audience and "seduce" the audience with sounds of caughing, beans scattered on the floor, the dropping of bamboo pipes, etc, and later p around slips of paper telling them, "don't listen!". They actually mean to "disturb" the singer on stage who breaths exageratedly and then chants long mellismas. In the last movement, pebbles are distributed to the audience who are asked to play them up the end. The singer chants only to exit, and so do the three percussionists who play flutes and improvise. In November 2001, I will perform this work once more at the University of the Philippines.