In early June I watched Kurosawa’s “Throne Of Blood”. My summer visual media studies will feature as many Macbeth adaptations as I can . . . “Men of Respect”, a 1990 B-movie mob film starring many familiar faces came next; then Orson Wells’s 1948 adaptation, and the Fassbinder/Cotillard 2015 UK film.
Certain motifs from Macbeth are pleasant to consider at the moment, none more on-point than the dialogue between Lady Macduff and her child before Macbeth has them murdered. This dialogue becomes the visual, while Macbeth’s description of his own behavior post-murder (the title of this post) becomes the audio . . .
… with a little editorializing of my own.
Looking forward to making images of key motifs or ideas from Shakespeare’s tale of treachery. Macbeth’s a rich source of symbolism for deeper thinking about contemporary challenges, and a reminder of their source in human behavior that transcends this moment.
In early December 2017 Ben Damann pitched a project to me – an opera featuring electronics and a soprano, in need of a character shaped in Jitter. He wrote …
The libretto will be highly minimalist and will entirely be in binary. I’m composing it in a pretty abrasive style to fit my roots in the hardcore punk scene, so each song will be extremely short and extremely fast with explosive electronics.
The voice is going to be saturated with effects so that it acts as another electronic track in a way.
BOLD was successfully performed at Eastern Illinois University April 27, 2018. I had nicknamed this character “staticGurl” and formally named her Constance; she’s returning at age 42 after having been abducted Poltergeist-style as a small child. I love that she was part of an 8-song cycle that includes a piece titled “Glass Teeth”.