@Den 4. Væg skriver blandt andet:

“Afslutningsvis bliver vi bedt om at lægge os godt tilrette på en madras under Chemnitzs virvar af snore. Jeg kigger op i en lyspære, der er omkranset af nøgne grene, der med strips er tvunget ind i en form for rund natur-lysekrone.Imens spiller Lola Ajimas lydinstallation. Først er de dybe rungende lyde, der ind imellem suppleres af skingre høje toner, uhyggelige – som noget fra en gyserfilm. Men de fortsætter heldigvis længe nok til at trænge igennem mit umiddelbare forsvar, og det bliver næsten meditativt.”

Hvor er det fantastisk at være inviteret med af Vivian Nielsen og fungi ¤ systems som komponist til forestillingen Det Porøse Menneske // CPH STAGE , hvor hovedpersonen Alex, som også er lyd-entusiast, blandt andet siger således (lettere redigeret af mig):

“Hvor går grænsen mellem vibration og lyd? Lyd er bare de vibrationer vores ører kan sanse. … Blomster lytter efter vibrationerne fra vingerne af en bestemt bi-art… træerne lytter med rødderne, med væsken i deres væv… planterne sanser vandets bevægelser i jorden og vokser i vandets retning … Alting lytter efter vibrationer. Naturen lytter til os gennem myceliet. Måske skal vi lytte!”

Man kan lytte lidt med på lydsiden, her i traileren til forestillingen.

Vi har leget med interaktiv lyd til skuespillerne, Siff Vintersol og Maria Rich for at vise hvordan kroppens elektromagnetiske felt, rent faktisk kan gå i forbindelse med planters elektromagnetiske felt.

Og jeg har sørme fået lov til at spatialisere mit lydværk til forestillingen ud på 8 højtalere, der giver publikum et immersivt lydbad, hvor jeg har været inspireret af forestillingen om, at jeg lader fine, bløde svampesporersværme kærtegne publikums kinder, nedsænker dem i underjordiske vandstrømme og tager dem højt med op i luftens brus af Sort Sol fugleflokke og torden smeltet sammen med lyden af min cello, midt inde i Marie Rosendahl Chemnitz vildtvoksende og stemningsfulde scenografi.

Medvirkende: Siff Vintersol, Maria Rich

Scenograf: Marie Rosendahl Chemnitz

Billedkunstner: Charlotte Petersen

Instruktør: Vivian Nielsen

Dramatiker, forfatter: Vivian Nielsen

Komponist Lola Ajima

Producent: Scene42

Sted: Sydhavn Teater

Kunstnerisk producent: Fungi Systems

Tak til Statens Kunstfond for støtte til kompositionen.

Stopmotion film

Here i will display the sound work that I have done for dance, installations, film and theatre

Det Porøse Menneske

Theatre, multichannel Read more

KlodsHans flyver afsted

Stopmotion film Read more

Soundwork for Kathrine Ærtebjerg

Soundwork, stereo, voice, flute, piano, cello Read more

Raw

Dance Read more

Dance-Installation-Film-Theatre

Here i will display the sound work that I have done for dance, installations, film and theatre Read more

Rush / Hastværk

Rush (or Hastværk in Danish) is a short dance movie by coerographer and artistic director in RØRSTRØMSK, Lise Lønsmann. My Read more

Rush (or Hastværk in Danish) is a short dance movie by coerographer and artistic director in RØRSTRØMSK, Lise Lønsmann.

My main interest here, was to take the initial sounds which was produced from the dancers movements, either in relation to herself or to the surrounding objects, and use them as my raw material of sounds to create the soundscape or soundtrack. It was very interesting to see how by changing the sounds, the perception of the dance changed, when the coreography was taken away from its natural sounds. I only added a few other pre-recorded sounds to blend in with the initial sounds, for example the sound of my bass, which I often use because of my love of the very low and intens sound.

The idea was to use the raw material, but instead of letting the sounds illustrate the movements, I tried to let them create another sense of reality a somehow more inner narrative of perception that could go with the dancers own inner state of mind at the given time as the charecter in the movie. For me there was at least two different dimensions: how the real sounds would sound like if we were listening from inside the dancers physical head, and how the sounds could sound like if they were to narrate the landscape of the dancers emotionally state of mind from inside the dancers existential head. So that the physical body and the mental body got seperated into two but still played together as one. To let these two dimensions merge together, gave me the possibility to try to give the listener a sense of double reality feeling, in an abstract sense. It was my hope that the listener would sense how it was to feel distant to his or hers own body, and to play on the feeling on being captured physically inside a small room and being captures mentally inside oneself.