My research focuses on Czech early-twentieth-century string playing, as evidenced in recordings from this period, considering how this might inform performance styles today. I will focus on the Bohemian Quartet’s recordings of Dvořák, Suk and Smetana, which differ radically from modern interpretations.
In traditional opera creation, roles are strictly defined: the composer and librettist create the performance “text” - the score and libretto - usually prior to the gathering of the performing forces. The composer and librettist are the primary creators, with the greatest degree of artistic freedom. The stage director and the design team have some creative liberty, while relying on the given text dictated by the primary creators. The conductor and the rest of the musicians are interpreters, their roles usually strictly defined, with limited creative freedom. However, in new opera creation, the roles of creator, interpreter and performer are often significantly more loosely defined. In my research, I shall explore the ways in which a group of artists collaborate to create a new work, and compile a suggested working method for a co-created opera production, with a focus on different types of shared leadership.
This research project presents both practical and theoretical strategies for the investigation of technology mediation in the context of experimental sound-based practices. For that, terminology and methodology are proposed in order to determine how, on an “object-specific” basis, creative processes are impacted when technical objects become agents in art-making. The notion of ’experimental’ is also a theme, by proposing a connection between the term and Heidegger’s concept of “enframing” (Gestell).
Performing in the 21st century Salon project is focused on historically informed performance practices with the aim to explore and test new creative techniques and performative concepts- where much more effort has to be done to communicate with present audiences.