new ideas for tear fet

Growing out of my response to the review of my set at The Penthouse NQ a couple of posts back, and a longer discussion of whether it was 'disrespectful' that I haven't finished or posted yet, I've been thinking about what I want to explore next with Tear Fet.

Last year it was shortform improvs and quiet. Quiet meaning quiet vocal sounds, extended 'silent' passages, and small vocal and breath sounds amplified. Both of these remain areas I want to play with.

This year I'd like to develop my flexibility, and give some thought to my performances going forward.

Flexibility is easy to explain, and I have ideas of how to rehearse it. Put simply I want to be able to change pace, pitch, timbre, which elements of my vocal apparatus I'm using, basically almost any element or combination of elements in my voice much more quickly than at present.

That will mean rehearsing all the parts of my voice much more and strengthening them individually as well as practicing changes. I think I'm also going to have to identify (or create) tracks that I can use as templates to rehearse changes when I get to that stage.

Performance is a more complex problem. I'm interested in the embodied voice, in the physical aspects of it. Sometimes as a kind of abstract aural analogue of self-portraiture. At the same time I have significant problems with rock n roll cliche and the romantic myth of the unique individual (often male, often tormented) genius. The cult of self isn't very interesting, and gets in the way of the art.

I'm still not sure how to reconcile this. I guess it's time to head back to the videos and actual events of live art for some pointers. Dropping some vanity would help for a start though.


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