aesthetic perspective

My Mau Mau (working title) is moving into a crossover area being projected from several directions: music-theatre, installation, performance, poesie-concrete. (see recent discussions at tk D&D)

My Mau Mau uses non-naturalistic techniques drawn from opera & the theatre of the absurd combined with a certain creolisation of english language sources.

The staging or presentation stems from the following assertions:

1 A primary attraction of opera is precisely the facial movements, normally seen as grotesque,  demanded to be able to sing at full voice to an auditorium. Side screens will carry big close ups of the singers.

2 The formalism of opera acting if wound a little tighter could become a stylised poetry of movement. The front screen carries the singers in mute action as well as archive and poetic material

3 Opera echoes how we as children perceived adults - great shouting beasts - My Mau Mau transduces this into a contemporary form.

It uses language that can be shot into the performance space in fragments, repeated and pulled at by Taran Carter's music; the staginess of opera as a setting for language dense with sonority, rhythm and allusion. Some passages will be sur titled, adding a lexical layer.

With the massification of image capture we are getting used to broken, degraded images (learning ways to see them) and turning away from the false verity of the clean & the perfect, associated with the persuaders. We are getting used to sifting thru rubble to see if there is anything alive.

So we should have the freedom to make performance theatre animated from the base layers of the brain. To show something of the tumbling panic, the urgency of people in trouble rather than conventional character development.

To show that one of the reasons soldiers, of all kinds, don’t speak is that they have seen things that spit right back at the idea of human dignity.