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G A Z EF O R( BL IKF O RP E R F OR M AN C EFORT E X TE NSE MBLE ,&M U SI CG AZ EBL IK)O PE RAAC TOR SBYN I E LS&SING E R SR Ø N SH O LDT2017Commissioned by SCENATETWritten with kind support from theDanish Arts FoundationDedicated to Anna Berit and SCENATET

P E R F O R M A N C E N O T E SENSEMBLE AND CAST8 musicians also singing choir, performing and handling objects and lightBass clarinet (female)Trombone (male)Percussion (male)Piano (male)Guitar (also electric guitar)Violin (female)ViolaCello (female)2 singers: ‘Man’ & ‘Woman’2 actors/extras, male and femaleAUDIENCEThe audience is placed in a circle of 44 chairs and speak during the first act. See ‘Positioning’ pageA different number of audience is possible, then the system of selection and numbers in the score are changed accordingly.CLARINET & TROMBONEPlayers of clarinet and trombone are placed in the circle together with the audience in the first act. Clarinetist on chair nr. 13,trombonist on chair nr. 1. See ‘Positioning’ page. In second act they go to the ensemble place.Trombone: Shift between same note in two different positions (‘same note glissando’)Bass Clarinet: Shift between same note in two different fingerings

STRINGSGUITARSquare noteheads: damp thestrings as much as possibleElectric guitar with volume pedal. Strike thechord inaudibly and fade in from zero. Make surethe chosen pedal brand supports zero volume.Big, slow vibratoRub the string as quickly as possible with twofingers from right handCircle noteheads: Rub thestrings as audible as possibleGlass slide guiro on the frets below e string (I)Violin, 1st act: Place hand gently on the shoulder of theaudience member on the given chair. The line written in thescore corresponds to the card given to the audience on entranceHit all strings with the palm of right hand. Dampwith left handHigh pressure bowingPlace a ruler (15-20 cm) in between three strings so that it isinterlocked with 2 strings above and 1 string below. Then pluckthe ruler with right hand finger(s)Place a ruler (15-20 cm) in between three strings so that it isinterlocked with 2 strings above and 1 string below. Then pullout the ruler forcefully and with as much friction sound aspossiblePlace the ruler flat on a flat surface fx. the notestand and flick itagainst the surface to create a loud sound.Circle noteheads: Glass slideBig, slow vibrato (with glass slide)Put a 5-10 cm piece of e string (VI) around the estring (VI). Pull outwards and slide it accordingto the notes written.Place a credit card or the like on the finger board betweenthe two notated strings and tremolo between themHit the strings with a pencil, drum stick or thelike.Move / ‘throw’ the bow quickly through the air so it makes a soundSwipe the strings with a credit card orthe like and let the chord ring. If thenoteheads are black diamonds: swipewhere notated.

PERCUSSIONPIANOALL:OBJECTSVIBRAPHONE1st Act:All musicians handle objects. Read the score (secondact) carefully in order to have enough of each objectand to lay it out practically.GRAN CASSAANVILSNARE DRUMTOMLOG DRUMWOODBLOCKTAMORGANTread organ or folding harmonium or the like.If a single hand solution is chosen, then youare free to re-arrange the chords, thoughkeep the same bass notes and approximateregister for each chord.THUNDERSHEET2nd Act:MELODICAPIANOBAG WITH GLASSFIRECRACKERSPEBBLESFIRECRACKERSDOGSTOPPERS (firework pistol)STICKS FOR BREAKING (pencils/chopsticks, branches)GLASS BEADSWOODLOGSSLAPSTICKHORSEWHIP (dressage, min. 1’20m)SLAPSTICKSJERRY CAN (with some sand in it to stabilize)A credit card or similar hard plasticacross the keys. One for each handare requiredTIN CAN/BOX (large, with some sand in it to stabilize)CARDBOARD BOX (small, hard)HARDBACK BOOKS (heavy)RULERBALLOONS (plus needle, for popping)SUPERBALLBAGS WITH CHINATUBULAR BELL HAMMERBAGS WITH GLASS4 X AIR BURST STAGE FIREWORKSMETAL CHAINS (thick, heavy)DOGSTOPPER (firework pistol)CONCRETE BLOCKSEUR PALLETSAND BAGSSHEETS OF PAPERPlease note that the diamond flageoletnote indicates that the whip is in theair, creating air sound only. Normalnotehead indicates a stroke on the floor,table or the like. This goes for all horsewhips in the score.

POSITIONINGPLACED IN A CIRCLE OF 44 CHAIRS:40 AUDIENCE MEMBERS2 MUSICIANS (CLAR, TRBN) AND 2 EXTRAS/ACTORSEach chair in the circle has a number. The audience receivesindividual cards showing which chair to sit on and containing ca. 3sentences that they should read aloud when they are touched on theshoulder by either the violinist or the percussionist. The organ andcello are placed in the middle of the circle on a revolving stage. Thefour musicians join the ensemble in second act(4 audience members are never selected (buffer seats) and receivecards containing silence sentences.)violinist1(trombonist)PLACED AWAY FROM THE CIRCLE:ENSEMBLE AND SINGERSOrganGUITARVIOLA33(male extra/actor)CelloSecond act also:TROMBONEBASS CLARINETVIOLINPIANOPERCUSSIONCELLO2 SINGERSpercussionist11(clarinetist)(female extra/actress)22

O V E R TU R E

O V E R TU R EIn a foyer or the like next to the performance space the audience has gathered.The pianist enters.Pianist:“Good evening, Ladies and Gentlemen.Music is a dark world of meaningless abstraction. Of memory and longing. That’s why I prefer theatre to music. Theatre is much more like the realworld. Theatre is language and body. There is action and reaction. But still, what goes on in theatre doesn’t exist either. Also theatre is pureimagination, pure fiction, pure possibility. Much like the things in life you didn’t do. The kiss you chose to deny will remain a fantasy. The child youchose to abort will remain unreal. The city you chose not to move to will stay unknown to you. The man or woman you chose to leave, the parent youwould have been. The person you would have been in that city, with that man or woman, if you had taken that kiss. That could all have been real, but itis not. Like theatre it is fiction. Like everything you are about to experience, it isn’t real.”Pianist exit (goes to the concert hall where he/she is readyViolinist and percussionist (extremely precise and detailed unisono including pauses, noises (uh, breathing, coughing etc.), movement etc. Underlinedwords should be spoken with an artificially long vowel.“As in love, as always, there are certain rules that you must obey. Please listen carefully. In a moment you will receive a card on which a number ofsentences are written. When you feel a hand on your shoulder, you read one sentence aloud to the collective. The next time you feel a hand on yourshoulder, you read aloud the next sentence on your card. And so on. Hand on shoulder - read aloud a sentence. Hand on shoulder, read aloud the nextsentence. And so on.You might be shy. It might be awkward. But why not read aloud with pride? It is just words, none of it is real. Like so many things, the words couldhave been real too, but they are not.”The audience are then guided into the performance space. They are - one by one - given an envelope containing their individual card and on which thenumber of the chair they are to sit on is written. The chairs in the circle in the performance space are clearly marked with numbers as well.

A CTO P E NIE Y E

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