TY - ADVS
T1 - In the changing light
T2 - rendering pianistic colour through imaginative collaboration in solo performance
A2 - Go, Aura
PY - 2017
Y1 - 2017
N2 - My research investigates the intersections between theatrical approaches to embodiment (with particular focus on Michael Chekhov’s psychophysical acting methodology) and music performance. This investigation is placed in dialogue with current research in the field of music performance studies, in whichthe role of the performer in the life of a musical work is increasingly being understood as that of active creative agent. Recent research in the field has pointed to possibilities for creative collaboration extendingbeyond the interactions that occur between performers to include invisible collaboration, eg. between musician and instrument. By applying Chekhov’s embodiment work to music performance, I expand thisnotion of music performance as collaboration, exploring how seemingly intangible modes of collaboration can become tangible, rich sources for creativity in performance.For this portfolio, pianistic colour (i.e., the ways in which musical texture and timbre resonate to create atmosphere) was selected as a lens through which to address the overarching inquiry. This lens highlights synergies between Chekhov and music performance, as the creation of colour is tied to the performer’scapacity for embodiment. Solo piano works exemplifying colouristic writing were curated into recitals, and the rendering of this colouristic writing was investigated through rehearsal and performance.
AB - My research investigates the intersections between theatrical approaches to embodiment (with particular focus on Michael Chekhov’s psychophysical acting methodology) and music performance. This investigation is placed in dialogue with current research in the field of music performance studies, in whichthe role of the performer in the life of a musical work is increasingly being understood as that of active creative agent. Recent research in the field has pointed to possibilities for creative collaboration extendingbeyond the interactions that occur between performers to include invisible collaboration, eg. between musician and instrument. By applying Chekhov’s embodiment work to music performance, I expand thisnotion of music performance as collaboration, exploring how seemingly intangible modes of collaboration can become tangible, rich sources for creativity in performance.For this portfolio, pianistic colour (i.e., the ways in which musical texture and timbre resonate to create atmosphere) was selected as a lens through which to address the overarching inquiry. This lens highlights synergies between Chekhov and music performance, as the creation of colour is tied to the performer’scapacity for embodiment. Solo piano works exemplifying colouristic writing were curated into recitals, and the rendering of this colouristic writing was investigated through rehearsal and performance.
M3 - Curation
ER -