This experiment aims to develop a methodological approach to the emotional/physical identification of the instrumentalist with the musical score, supported on the shared premises and goals of both musicians and actors as protagonists of the live artistic actions. More concretely, the vast work of Jerzy Grotowski and collaborators on actor training provides the artist with a series of concepts and principles about interpretation whose efficacy is to be tested in this case in the musical field.
We are trying to find a via negativa for musicians, to ask ourselves what in our playing belongs to musical prejudice or how can Grotowski’s concept guide the musician’s attention towards the spotting of unnecessary actions/habits.
What is a partytura for Grotowski and how can musicians relate to his use of it? How does a “total act” look like in music performance, how to identify and reach it, what is the role of sincerity and love in the way towards it if we follow Grotowski’s ideas? Can we bring the richness of vocal colours achieved by this training into our instrument thus enlarging its expressive nuances? How would the process of “articulation of the role” be in a music context? These and other questions are undergoing actual experience with the instrumentalists in order to shed some light on them. The experiment starts with a partnership of four actors and a string quartet around Haydn’s Op. 51 and Grotowski’s initial Phase of Productions. Focus is on text and myth.
With the collaboration of Peter Kolpa.