Exploring non-narrative approach of opera making through the lifeworks of Tehching Hsieh

Li-E Chen: PROPOSITION FOR A CONVERSATION ABOUT A SILENT OPERA ON TEHCHING HSIEH

The presentation was conducted at the Tête à Tête: The Opera Festival 2017, as part of Li-E Chen’s preparation for her upcoming one-year research and development project: A Silent Opera on The Life and Art of Tehching Hsieh, 12 September 2017 to 12 September 2018.

This experiment was devised after my recent meeting with members of Snape Malting’s Open Space Scheme at Kings Place, London.

These are the 8 elements of my one year research and development project. I invited  8 volunteers to help me during this experiment. (8 Participants, 8 Pieces of Brown Paper with 8 Questions and 8 Roles).

Participant 1: Role 1: Producer (Question 1: What is a Silent Opera?) The silent opera will respond to the concepts behind American-Taiwanese artist Tehching Hsieh’s six durational performances (1978-1999)

Participant 2: Role 2: Singer (Question 2: How is it possible for singers to work on a silent opera without narrative and context?) I want to hear singers’ voices, not the voice of a narrative or context of a character/story. Really I am interested in their own voices.

Participant 3: Role 3: Composer (Question 3: How is it possible for composers to work on a silent opera without narrative and context?) I am interested in exploring the possibility of music can being something we can hear in our own minds.

Participant 4: Role 4: Curator (Question 4: What do you mean by “de-territorialising” opera into a “becoming-sculpture”?) I mean an assemblage, within an assemblages there are multi-ple assemabges. Becoming-sculpture, I think about there are different layers of silence, architecture, body, voice, light, etc. Deleuze and Guattari define an “assemblages” as a composition of disassociated elements that function creatively.

Participant 5: Role 5: Librettist (Question 5: How is possible to write your opera? Why does it need to be opera, not a musical or theatrical text?) Opera is the most naked live art form, there is nothing that can hide, it is only art form allowing me to explore silence.

Participant 6: Role 6: Conductor (Question 6: How would you like audience to engage with your work?) I would like audience to experience time very differently with this piece.

Participant 7: Role 7: Director (Question 7: What would you do if the project is not successful?) To me, any projects I start I prepare for it not being successful 100%, because everyone has a different measure of success. To me, the success is that I am going to work through it and see what happen.

Participant 8: Role 8: Audience (Question 8: What is next?) ACE success. Now I can look for my team (assistant, co-producer, literture manager), and collaborative artists (sculptor, musicology and art history), and conductors, singers, composers – maybe you are one of them, please contact me if you are one of them or if you anyone please contact me.)

 

AUGUST 12, 2017 | 5PM – 6PM

AT RADA STUDIOS 16 CHENIES STREET LONDON WC1E 7EX PART OF TETE A TETE: THE OPERA FESTIVAL 2017

 

Blog post (1 of 8) Aug, 2017 liechen.com/silentopera


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