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Long day

2004-01-14

I was cathing an early flight to Oslo and arrived at Statens kunstakademi at 10:30. The rehearsals has moved from Grusomhetens teater at Hausmania to Skulptursalen at Statens kunstakademi for the next three weeks. It feels good to move from a dark cellar to a white room.All windows were of course covered up as we’re using a lot of video and lighst but the room still feels brighter.

During my previous session in Oslo Verdensteatret had started devellop material develloping organicly from olne situation onwards. I had the feeling that it might be difficult to devellop when you do not know in what direction you want to go. I therefore suggested to start devellop several situations that didn’t necsessarily have to connect to each other yet. When I came back yesterday the scenography has develloped and they were working on a different situation within it. Also a prepared piano with live processing is introduced.

The father of one of the actors Corine was watching most of the rehearsals and gave a very precise definitioon of what we’re aiming at. This is becoming a complex world with a lot of simultaneous stories. "If there’s a story there’s something wrong". Lisbeth said that Verdensteatret is sometimes criticised for telling 15 stories at the same time. To me this is a way to come to terms with the fact that the world is to big and chaotic for us to try making one theory one history and one point of view that everything should be able to fit into.

Arild Bomann came in after rehearsals and played us some tapes from the late seventies a weird kind of jazz using alt sax (Kalle Neumann) and a moog (Arild) and resembling side 2 of Bowies “Low”. I digitized them but haven’t had the time yet to clean it up and burn to CD.

Alse Lisbeth me and Piotr (Peter) continued to work into the night testing out music I was bringing along listening to music Lisbeth and Asle found interesting and working on some of the videos.

Peter is facing similar problems to what I and HÃ¥kon did during the devellopment of Tsalal: How to handle large Max patches for controlling real time video processing so that it becomes a setup that is useable in actual performances and at the same time keeping maximum flexibility during current devellopment? I’ve looked into Jade earlier on but I don’t think it will suit or needs for video during this production. We started discussing possible solutions.

I was back at the flat I’m staying at around midnight and set down to create 800×600 JPEGS from the slides I took during the trip to Greenland. It didn’t take too long to create a batch processing patch for conversion in Max/Jitter.

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