This post is in the Appendices category

Appendix for assessment only. Not For publication.

[00:00:02.11]I have to get you to sign some documents as well. At this stage I'm not planning to use the video but there are a couple of places I might

[00:00:14.08] what I'm doing is cartooning half the frame so it looks like a cartoon[00:00:29.00]there's a couple of reasons for that, firstly it helps to preserve some anonymity of the other person

[00:00:34.12] Interviewer: and secondly it reduces the facial features, so part of what I'm tring to do is to show other people the way I see things

[00:00:45.12] Subject: mm

[00:00:45.12] Interviewer: so there's a few musical examples and a few places where there's a really strong image, but the subtle stuff doesn't really get me at all, so if I reduce th efeatures so you concentrate more on the words that are said

[00:01:08.06] Interviewer: that's kind of how I work, which is kind of interesting, but anyway ...

[00:01:15.08] Interviewer: The spinning music is an interesting one because Noa mentioned it to me and um, obviously its written as an excerise, but she said to me "oh, no it really brings people undone, and I'm like, "what the hell are you talking about?, what do you mean by that? and I listened to it a few times, and - I love it - I really like the piece

[00:01:43.03] Subject: mm

[00:01:47.01] Interviewer: it has all this detail, little things happening all the time and that's what I'm fascinated with[00:01:54.22] and at the time that IO wrote it it was like, a meditation for me - it brought me some peace in writing it, that long build uop and coming down again, but the other thing she said that with people, it totally stripps them of whatever oit is that ... so anyway, I'm interested in your reaction to that pioece because it is often used once or twice with people rather than something that they listen to time and time again

[00:02:25.06] Subject: like, get used to.

[00:02:29.15] Subject: so do you want me to describe it?

[00:02:29.15] Interviewer: tell me

[00:02:29.15] Subject: I know what Noa is talking about and its funny because every time I hear the music [00:02:41.08]it in conglomeration with the excersice which in itslef is quite releasing, but even when I listen to it on its own or use it in a show, and I've used in in a show of mine before and even when I hear it on its own its so beautiful and there is a certain amout of body memory of doing that exercise [00:03:08.20]its very hard to describe because it is like a meditation, and its such a slow build and when ever I hear it I feel instantly connected to the world, and I don't know how you did that. I have no idea but[00:03:24.01]

[00:03:28.04] Interviewer: the body memory thing I think is interesting because I think - none of the peices I've ever given to ZZZ have been designed to be listened to on their own

[00:03:43.18] Subject: yes

[00:03:43.18] Interviewer: they are all designed to have some kind of context

[00:03:43.18] Subject: yes, yes isnt that funny, you inherently whrite movement ino the music - it makes me want to move


[00:03:50.19] Interviewer: its not the meovement that Lynne and Simon want - many times they say, look tgis is what we're rying to achieve, and they work through the emotive content of the scene

[00:04:02.22] Subject: Ahh

[00:04:02.22] Interviewer: and then I'll give trhem something and they go "that was so totally not what we expected" and then its like "but I like that". Especially Lynne. She'll go < I like that idea" and she'll put it in juxtaposition and there are some pieces that are very beautiful but go against some very ugly moments

[00:04:20.05] Subject: yes

[00:04:20.05] Interviewer: and almsot vice bversa in some cases and that's always strange for me because I go, no non that's what you told me to write and that's what I've given you and that's been a constant.

[00:04:41.15] Interviewer: but I think the body memory thing is important. I know that when I listen to that peice on its own, I remember seeing people spinning, I don't get strong visual images when I listen to music generaly, some people do ...

[00:05:03.01] Subject: I respond to different pieces of music differently, but the spin music in particular, is not a visual thing for me, its all feeling based for me and th efeeling is an openeing and a lifting. And there is that beautiful peak in the music. There is that beautiful peak in the music, when ever it comes to that bit, its like every single time I feel a cracking open in the peak of the music, because in the excersise the instruction is to really let go and go at your maximum speed at that point.

[00:06:11.03] Subject: the feelin is of lifting but also of lifting but also its quite peaceful.

[00:06:22.15] Interviewer: the music is quite frenetic and freneticism is something I do a lot of its either really grounded or really frenetic, but there;s often a grounded thing sitting underneath it and I know that one of my compositional techniques is - the more that's going on, the easier it is to put a floater on top - its like grains of sand lots of small things in there and then you can sit on top

[00:06:49.24] Subject: thats amazing

[00:06:53.10] Interviewer: like the lotus eaters

[00:07:38.15] I like the start of the spin music

[00:08:03.07] lucifer

[00:08:19.16] Interviewer: lust, there was a very instant reaction about that

[00:08:50.21] Interviewer: it wasn't what we expected - the slow build. The thing that got me about it was the combination of different noises. The thing it evokes in me is the image of people passing and missed opportunities - its quite sad, and its like within the music there are all these diferent people that you didn't quite [connect with]

[00:09:28.00] what I wanted to acjieve was a sense of losing yourself, of stability - its quite hypnotic, but I wanted to disembody it, the little computerised voice i wanted to make it unhuman

[00:09:58.15] Subject: very disturbing

[00:10:30.21] becomes "dirty"

[00:10:27.04] Interviewer: cross between - it gets to the point that it feels passionate slash violent so pounding

[00:10:44.09] Subject: some of the images that I have showed that and I was a bit surprised by that

[00:10:52.00] Subject: by how much iot brought out

[00:10:52.00] Interviewer: yeah, because i'd seen a little bit of teh choreography before hand, and it wasn;t there

[00:11:00.04] Subject: no

[00:11:00.04] Interviewer: it was I don't know, maybe it was part of the rehearsal stage but it was um somewhat more tender preveiously. It seemed to bring out the neasts somewhere along the way wjhich surprised me a bit

[00:11:17.18] thing about getting your music. is tha I feel like, there's this thing where you let it cme through you, you let it come through you and you want to act upon it, but at the same time the music is in the room and I feel like I need to , in my performance, match it because the music is so BIG emotionally it feel big to me, so I feel I have to match that and it gives me licence to let that stuff come out

[00:11:54.20] Interviewer: is that what it is? because I knwo that a lot of what I write isn't subtle. Itry ot make it have depth, in terms of the types of sounds I use and its not usually harminically complex or (its often rhthmically complkex), butI always notice when the actors hear it for teh first time that everything just extends -

[00:12:42.19] Interviewer: what I was saying to yoiu before abiut meaning making in theatre tht I see the director and the choreogphe literally mvoing people...the form of theater that you guys do is not subtle ...

what we do is visceral - gets to me althiough sometimes its confronting

[00:13:52.22] Interviewer: Ive always seen that, the stripping away of clothing as a part of thatok, this is how youy get "inside" another person

[00:14:15.03] subcon2

[00:15:14.18] make you feel amxious

[00:16:31.03] Interviewer: in the dagger scene, I knew that the audience would be on the floor between the speakers, so I'm pulsing this really low thing - I'm going to see if I can make their heart move with these really low frequencies - and then there's this "dental drill" over top, and I noticed people sitting on their tatami mats, being uncomfortable and I thought " yeah, I'm actually mvoing their chest cavity with this stuff and I though "I like this stuff"

[00:17:04.20] Subject: it's very manipulative! In a good way

[00:17:04.20] Interviewer: yeah its the control freak in me!

[00:17:09.21] the lust stuff is interesting. not meant to be aggressive

[00:18:06.23] at the moment where everything drops out

[00:19:08.01] butoh babies - don't connect

[00:20:34.15] Subject: kobe / terror

[00:20:43.01] Interviewer: that was originally written after the Kobe earthquake

[00:20:45.06] Subject: Right! this is interesting, because the first time I heard that I thought - this is beautiful but I don't know if it goes with the [dance] because I imagined rolling hills in Ireland the first time I heard it and then I though "what?" that goes with Terror? and I didn't think it would work until I sa it together

[00:21:03.21] Interviewer: well that was one that Lynne said "what the fuck are you doing?"

[00:21:12.24] Subject: which is why it works, because if it was a hriffic as what we're doing it would be too much and the audience would pull away, but because what we're doiung is horrific but beautiful,

[00:21:28.20] Interviewer: its grotesque

[00:21:28.20] Subject: it lets you come in and watch it

[00:21:32.18] Interviewer: I've been trollong youtube lately for butoh

[00:23:05.16] Interviewer: kobe was done for the earthquake and I wanted to be the observer of that peice, rather than be "in it" for me it was like looking from a distance at this stuff happening

[00:23:28.18] Subject: for me its like a tribute to it

[00:23:31.03] Interviewer: I guess it's a remembrance - but still to me when I was wrting it, it wasn't about feeling sadness that people had died, it was about feeling horror that it could occur

[00:23:56.22] Subject: right ..

[00:24:02.00] Interviewer: so when I took it in and Lynne said, "but its beautifl and sad" and I said - no its meant to describe my horror and she said "Ok we'll try it"

[00:24:24.02] Subject: a lot of people say that's their favorite piece

Colin discusses a separate piece, subject doesn't get the transition ...

[00:25:16.21] Subject: I'm glad you spoke about that ... yeah, Kobe is beautiful but so unexpected, and when I'm performing to it, its like it's in the backroound but its not apiece that drives, that helps me do what I'm doing, I'm doing my thing and it sits comformtably next to me

[00:25:46.04] Interviewer: its another performer

[00:25:46.04] Subject: yeah and I know that its still doing its thing but I'm not using it to drive me

[00:25:58.12] Interviewer: so which peices are drivers for you

[00:26:14.10] Subject: unleashed - we've been talking about two different things ...

[00:26:56.10] Subject: the start of SubCon into Can you feel it, even though i'm not even on stage

[00:27:20.15] Interviewer: I said to David, have you heard the music yet and he said no, and I couldn't believ it because the orginal title for that peice was "the freezer" its a cold space that things get added to and its like adding layers of meaning