Monthly Archives: August 2017

By Katie Dunham

A number of CalArtians are currently in Edinburgh, Scotland, for the 70th anniversary of The Edinburgh Festival Fringe, the largest arts festival in the world.

Marking CalArts 14th year partnering with the Royal Welsh College of Music and Drama to stage plays from emerging Welsh and California artists, this years festival will once again see CalArts Festival Theater visiting Venue 13, the best little venue at the Fringe.

CalArts 2017 productionsall written by womeninvite audiences to venture inside the diverse and global community of Los Angeles. Two of the three shows, Gunshot Medley and The End, The End, The End, have been longlisted for the Festivals 2017 Amnesty International Freedom of Expression Award. The End, The End, The End is also longlisted for the Festivals Eddies Award.

Made possible by the CalArts Office of Advancement, this year marks the first ever Friends of CalArts Edinburgh Tour, during which a group of CalArts fans and supporters will join Travis Preston, Dean of the School of Theater, in Edinburgh for a week of shows and activities.

Running the entirety of the Festival Fringe, the following productions have all been workshopped at CalArts:

Gunshot Medley In playwright Dionna Michelle Daniels (Theater BFA 17) Gunshot Medley, past and present meet in a haunted North Carolina graveyard to explore the deep-seated racial tensions in the United States. Set to classic Appalachian folk music and gospel spirituals, the play stretches across the Antebellum American south through present day to weave a rich history of the Black American experience, the historical expendability of Black bodies and the lives lost to hatred, racism and police brutality.

Three slavesBetty, Alvis, and George, played by Morgan Camper (Theater MFA 18), Derek Jackson (Theater BFA 20), and Darius Booker (Theater MFA 17), respectivelyare stuck in a state of limbo, perpetually tasked with cleaning up the wreckage of systemic racism purveying contemporary America. An ever-present fourth character, the High Priestess of Souls (played by Daniel), an incarnate of the Yoruban goddess Oya, awakens each character to their condition, inciting action and social change.

A combination of spoken word and live music, the production pays homage to the real Betty, Alvis and George, three historically documented slaves that died in North Carolina before the emancipation proclamation was signed. It also seeks to respond to the insensitive usage of the Confederate Flag in the wake of the Charleston Church massacre.

Gunshot Medley features lighting design by Jesse Fryery (Theater MFA 17), set design by Alex Grover (Theater MFA 18), music from Kris Rahamad (Music BFA 17), sound design by Sam Sewell (Theater MFA 17), and costume design by Chardonnay Tobar (Theater MFA 18). It is stage managed by Samantha Brounstein (Theater BFA 19).

Gunshot Medley opened at Venue 13 on Saturday, Aug. 6, and runs through Saturday, Aug. 26.

Love Gasoline! Bessie Award-winning artist and CalArts instructor Stacy Dawson Stearns goes inside Marcel Duchamps imagination in Love Gasoline!. Inspired by the artists famously unfinished work, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), the play presents Duchamps iconic Nude, who guides the audience into the glass to witness elaborate and unconventional acts of desire.

Featuring cyclical episodes of bizarre human behavior, occasional gambling, shots of music and psychologically graphic film sequences, Stearns innovative dance play seeks to strip down its own form to expose the possible plays within the glass and the hilarity of human desire.

Love Gasoline! stars both Stearns and Brian Ehst (Theater BFA 18) as Nudes, Billy Lawrence (Theater MFA 17) as The Nine Bachelors, and Tyree Marshall as The Bride (Theater BFA 17), and features lighting design by Jesse Fryery (Theater MFA 17), sound design by Sam Sewell (Theater MFA 17), music by Ian Stahl (Music MFA 18), and video design by Jonathan Stearns, CalArts Videographer. Rocky Hood (Theater BFA 19) is Production Stage Manager.

Love Gasoline! opened at Venue 13 on Saturday, Aug. 5 and runs through Saturday, Aug. 26. Recommended for mature audiences only.

The End, The End, The End The End, The End, The End focuses on an international ensembleself-described outsiders in a land of outsidersas they ritualize, remember and perform their exile experience in the United States.

Drowning in media and facing end-of-the-world paranoia and identity crisis in America, the exiles must constantly revise their personal histories and ideologies as the alleged other to survive.

Mixing pop iconography, intimate storytelling, motion-sensor video, real-time light art, operatic manifestos of political prophets, athletic and sensual performance, and more, the result is a defiant theatrical collage seeking to debunk myths of otherness and enlist audience members in a revolution for a new utopia.

Conceived and directed by Scarlett Kim (Theater MFA 18), The End, The End, The End stars Brian Ehst (Theater BFA 19), Gabriel Eduardo Jimenez (Theater MFA 18), Jinglin Liao (Dance MFA 18), Tyler Riggin (Theater MFA 18), Henita Telo (Theater BFA 18) and Carolina Vargas (Theater MFA 18). Produced by Changling Lu (Theater MFA 19), it features scenic design by Alex Grover (Theater MFA 18), costume design by Chardonnay Tobar (Theater MFA 18), lighting design by Dylan Phillips (Theater MFA 18) and Josephine Wang (Theater BFA 18), sound design by Sam Sewell (Theater MFA 17), and video design by Shih-lien Eugene Yen (Theater MFA 18). Samantha Brounstein (Theater BFA 19) serves as stage manager.

Read the original post:

CalArts Stages Three Productions at Edinburgh Festival Fringe - SCVNEWS.com

Damon Krukowskis new six-episode podcast, Ways of Hearing , begins with an exciting analog sound: that of a needle descending on a record. Krukowski, the musician and writer best known for his work in Galaxie 500 and Damon & Naomi, tells us, The first record I made was all analog. It was 1987, and making a record didnt require numbers or data. The tape decks, mixing board, and microphones were mechanical; music was recorded in a shared common moment. And so my bandmates and I set up our instruments in the studio, we counted off, and we played our songs, he says. We hear sublime music: Dean Warehams guitar, Naomi Yangs bass, and Krukowskis drums, beginning Galaxie 500s funny, heavenly Tugboat . Audio technology, whether analog or digital, conveys wonderfully human sounds: emotion, music, art. But the shift to digital has transformed recording, listening, and even the way we experience time and space, in ways we might not fully comprehend.

One of these transformations is the rise of the podcast. Today I begin a weekly column, Podcast Dept. , in which Ill be talking to podcast creators, listening to podcasts with a critical ear, reviewing the popular and the obscure, and paying attention to the form of podcasting as it evolves. Krukowskis Ways of Hearing is the first show in the Radiotopia networks new podcast, Showcase, which will highlight a succession of short-run podcasts. I chose to begin with Ways of Hearing both because it offers the immediate pleasures of a great podcastinteresting ideas presented in a sound-rich, thoughtfully produced narrative formatand because it makes us think about the act of listening itself, in ways that feel timely and vital.

Ways of Hearing evolved out of Krukowskis recently published book, The New Analog: Listening and Reconnecting in a Digital World , about how the way we listen has changed with the shift from analog to digital. The books objective is not uncritical nostalgia, he writesits to identify the good things that this shift imperils and to get us to think about how to preserve them, in the spirit of Jane Jacobss writing about urban spaces. Krukowski worries that digital listening, in all its ubiquity and convenience, threatens the quality of our listening and attention. He wants us to become more careful and aware, and he wants to encourage harmony between the analog and digital worlds.

In the book, he does this through explorations of mono and stereo, signal and noise, The Dark Side of the Moon, loudness, the CD revolution, and so on, with wit and verve; we learn the Victrola-based origin of the saying Put a sock in it and see a photograph of Nigel Tufnels custom volume knob . The aural particularities of headphone listening, he tells us, make us experience what we hear inside our head. The headphone album of the 1970s was meant to take you elsewherenot into the street, but certainly out of your bedroom, where you were tethered to the stereo by a coiled cord like an astronaut tied to an orbiting spaceship, he writes. Close your eyes, turn up the volume, and fly into headspace. Cut the cable, as we now have, and we risk confusing the external world with the internal one. We all understand this: I once turned off Invisibilia for fear of falling through a sidewalk hatch.

Krukowski narrates Ways of Hearing in a smooth, patient, sound-focussed style, augmented with clips of music, street noise, and field recordings. (The sound of what used to be CBGBs will make your blood run cold.) On the page or in your headphones, Krukowski is present, engaged, and eager to share ideas.

I talked with Krukowski and Yang in a back garden at their home in Cambridge, Massachusetts, near Harvard Square. Their two cats, Chickpea and Lentil, a.k.a. Caetano Veloso and Maria Bethnia, milled around among the flowers. The concept for my project was based on John Bergers Ways of Seeing , Krukowski saidnot the book but the TV series, which came first. It was a BBC series, just a few episodes, made in the early seventies. Berger was a Marxist. And hes using this medium thats obviously extremely popular and thats reaching into every English home, and he is quoting Walter Benjamin and giving this different view of what our visual culture might mean. Its fantastic. Hes so generous of spirita quality that I really admire. He really wants to share the information, but he doesnt talk down. Its clearly meant for every household. In the first shot of that series, Berger, dressed respectably but casually, with curly seventies hair, walks up to Botticellis Venus and Mars and cuts the face out of it. Its a reproduction, we realize. With this provocative gesture, Berger plunges us immediately into ideas about art in the age of mechanical reproduction.

I was thinking about podcasting and digital sound in general, how everybodys walking around with earbuds, Krukowski went on. And its a moment thats very similar to the TV in the late sixties, early seventies, where this hypervisual culture is happening. Suddenly you have this visual medium in every home, and people are just consuming it. But Berger was making you aware of it. To me, the success of Ways of Seeing is that hes making the viewer aware of the television as well. And so it becomes a critique of television itself. Today, he said, everybody is surprisingly unquestioning about audio. He wants to help change that. Without passing judgment, necessarily. I just think theres a strange lack of questioning.

Each episode of Ways of Hearing focusses on a different aspect of the analog-digital audio shift: Time, Space, Love, Money, and Power. (The sixth has not yet been named; a seventh, bonus episode, Ways of Song Exploding, is a collaboration with the forensic music podcast Song Exploder.) Time is full of fascinating observations about how digital technology has altered our relationship to time: if youve ever wanted to hit Undo on something in real life, you understand. He approaches the question musically at first, by talking about analog tempo in music performance and how it can often be variable, even among professionals.

Musicians know time is flexible, he tells us. You steal a bit here, give a bit back there. We hear a solo cello, some jazz, some funk, a hand-cranked Victrola. Hip-hop d.j.s used speed controls on a record to match it to another and keep the groove going, or, in the studio, to pile up samples from older records and make a new one, he says. We hear the beginning of Can I Kick It? and the voice of Ali Shaheed Muhammad on the NPR show Microphone Check , talking about how he and the other members of A Tribe Called Quest noticed that the analog-based musicians they were sampling sped up and slowed down, sometimes even within a two-bar phrase. Galaxie 500 did this, too, Krukowski says: We were nervous and excited, and we sped up at the chorus. In analog time, we make up for imperfections as we do elsewherewith improvisation and moxie.

A big shift came, Krukowski tells us, when bands started recording to a digital metronomethe click track. Machine time is precise. (To illustrate this, he cues up the Human Leagues Dont You Want Me synthesizer and staccato, peppery beats.) The precision and control afforded by digital time can allow for other kinds of variability, in ways that can mess with our head. Krukowski talks about podcast listening speed, speeding himself up to 1.25x, like Im manic, and slowing down to .75x, like Im drunk. Latency, the lag between real time and computer-processed time, messes with us, too. It used to be, he tells us, that in Boston, when the Red Sox scored at Fenway, you could hear simultaneous cheering from open windows in cars and apartments all over the city. But after June 12, 2009, when United States TV stations switched from analog to digital, people watching on TV and listening on the radio were no longer experiencing the same moment. Now the sound of cheering in Boston is staggered. Its observations like this, enhanced with sound clipsand, here, a great interview with the Red Sox radio announcer Joe Castiglionethat make Ways of Hearing such enjoyable listening. It continually gives you a feeling of Ah, yes, thats whats been going on.

Krukowski and Yang live in an analog utopia with digital enhancements: a sunny space in an ivy-covered building, with high ceilings, a piano, and media galore (a book called The Revenge of Analog; a button that said ASK ME ABOUT MY PODCAST ). Krukowski showed me the living room, where he and Yang record music, and the mixing room, where he mixes music on an old analog mixing board after importing a digital file. Galaxie 500 were on a sixteen-track, but Kramerthe legendary musician and producerhad one broken channel, so we had fifteen, he said, looking pleased.

Recording with people long-distance is the new status quo, Krukowski said. The ubiquity of digital recording, coupled with the ease of sending large sound files in recent years, has dramatically altered the songwriting and collaboration process for many musicians. Krukowski mentioned his recent collaboration with the British avant-garde folk musician Richard Youngs , in which Youngs requested a drum track, Krukowski recorded one and sent it, and Youngs, instead of using it on one song, used it on the whole album. Krukowski laughed, delightedly. When Galaxie 500 recorded, and when Damon & Naomi record, the focus is on a shared moment; digital technology can inhibit such shared moments, but it also opens up what a shared moment can mean.

Ways of Hearing makes you highly attuned to such shifts, and to the complexity and variety of aurally connecting. The second episode, Space, out later this week, takes us to Astor Place, Radio City Music Hall, and beyond. In Tokyo, people on crowded trains pretend to be asleep to avoid eye contact, he says. But here, with all these headphones, its like were avoiding ear contact. The act of listening, we realizenot just in conversation but in our headphones and in the worldis significant. How we control sound, how we use it to insulate ourselves, to transport ourselves, to educate ourselves, to provoke thoughts and to distract ourselves from thoughts, to connect, to escape, can have social, even political, ramifications. And listening to podcaststhese intimate, sophisticated constructions of sound and ideascan connect us intensely to other people and isolate us from our surroundings at the same time.

Krukowski is especially convincing, even poetic, about the artistic and social value of noisewhich headphone listening and digital audio often shut out. Space ends with a lovely story about a visit he paid to the composer John Cage in the early nineties, at the apartment that Cage shared with Merce Cunningham, on Sixth Avenue. When I arrived, he was sitting at a table by the window, composing music on paper, and the windows were open, Krukowski says. The roar of the city was vivid: buses, shouting, honking. (We hear a little Cage, a little noise.) But John Cage said he never closed the window, Krukowski says. Why would he? There was so much to listen to, all the time.

Read the rest here:

Damon Krukowski Will Change How You Listen - The New Yorker