Audio — Stanislas Pili

The Expanded Body - Alessandro Perini KAIROS

Recording in 2016-2020 Inter Arts Center, Malmö/Sweden & Edith-Stein-Schule, Darmstadt/Germany

Release in September 2021

Capture d’écran 2021-04-27 à 09.57.51.png

Blackwater

Edition Nomar Music

Listen, buy digital album or buy the vinyl here

released April 15, 2021

Alt- & Bassflöte: Aurora Pajón Fernández
Kontrabassflöte: Madeleine Bischof
Fujaraflöte: Gérard Widmer
Bassklarinette: Miao Zaho
Trompete: Manuel Mengis
Posaune: Matthias Baumann
Kontrabass: Emile Van Helleputte
Kontrabass: Jonas Lüscher
Perkussion: Balts Nill
Perkussion: Stanislas Pili

Musikalische Leitung,
Mischung & Mastering: Ramon Bischoff

Bilder: Sabrina Borer
Gestaltung: Anna-Lina Balke

‘A’ S.A.D crap - A post modern classic - PART 1

LISTEN AND BUY

https://barbagallo.bandcamp.com/album/a-s-a-d-crap-a-post-modern-classic-part-i

Produced by Noja Recordings

Carlo Barbagallo: music director and producer, composition, software programming, voice

Elaine Carmen Bonsangue: stage and video direction and production, composition, hardware making, voice

Stanislas Pili / Swanz The Lonely Cat : voices and performance

Texts from Krapp’s Last Tape by Samuel Beckett

Also featuring: Jean-Francois Laporte / Stefano Bassanese / De Marion / Emilio Bernè / Michele Anelli, Cecile Delzant / Muko

Giorgio Taramasso / Federico Primavera / Francesco Bianchi: hardware making and software programming

-Side A (Tracks 1-6): Music for the performance
'A' S.A.D. crap (a post modern classic) - Part I
[for a performer and a prepared suitcase]

-Side B (Tracks 7-10), Side C (Tracks 11-14), Side D (Track 15): Music for the streaming show 'A' S.A.D. crap (a post modern classic) - ∞ Version (Part I)
[a streaming mess for a prepared suitcase, an interactive theatre, audiovisual devices and ghosts of crap]

The overrall project aim is to experiment in several directions the interactions between Beckett’s text, theatrical performance (gesture and voice), electroacoustic composition, object/instrument building, interactive programming (sound, light and video control) and graphic score writing. The ground of all these interactions is the ‘prepared suitcase’, an artifact that is consider the piece of art itself. It contains the electroacoustic devices, some decontextualized and customized ’sounding’ objects, the computer, the score and more; modules acting as an interactive network with the performer as part of it. As in ‘Krapp’s Last Tape’ the technological electroacoustic media became autonomous and visible, the “prepared suitcase’ S.A.D is prop, character and actor of the piece, alongside the performer. And as the performer will activate S.A.D., it will activate the site-specific performance. So, the suitcase will be consider as an extension of the performer and viceversa.