four more drawings from an orchestra rehearsal; graphite pencil on paper, c. 21 x 15 cms
four drawings from an orchestra rehearsal; graphite pencil on paper, c. 21 x 15 cms
Yes, this is very different from drawing (for instance) dancers. While moving art performers interprete a temporal impulse into spatial, thus visible, reality, the orchestra’s performance establishes more of a polarity; the aim of the effort stays the audible field, and yet there is a great deal of ‘bodyness’: gleams of varnish on the violins; the instrumentalist’s physical concentration and coordination of movements in playing; the almost architectural issue of supporting and supported parts when the cello player brings her instrument in a ready-to-start position. And the conductor’s oral instructions helping to bridge the gap… like “trust the fact of getting there softly”… I’ll keep that one.
Stockholm underground Aspudden – T-Centralen
Again, this time-and-space issue. I’m going to the Stockholm Concert Hall, to attend a rehearsal. Before, I have been working with dancers and eurythmists; making drawings from performances as well as cooperating in workshops. While sitting on the train, I recall the work we did at the Steiner seminar in January.
(see Archives: space and time drawings I – III)
Trying to catch sight of what’s going on in an orchestra at work – that will be something different, though.