Submit. Submit. Submit.
Love,
3rdGen Curators
Tuesday, June 16, 2009
Tuesday, June 9, 2009
Some further thoughts...
Dear reader,
This blog has only been up a few weeks, and already we are receiving many thoughtful responses and questions. Here are some things to keep in mind about our motives for creating Third Generation Festival:
1. The scores contained in this blog are only examples. We in no way intend to limit the medium and/or method by which information is contained and compiled. We are interested in examining the score as its own document, and point of view.
2. Third Generation Performers will be assigned a score to realize at the discretion of the festival Curators. The three of the creative sources (Choreographer of Original Work, Score Author, and Third Generation Performer) will operate independently of one another. The Festival will be an opportunity to bring all three together and engage in dialogue.
3. We created Third Generation to spark something new, different, and even (perhaps) controversial. We understand that by using Original Work as the inspiration for Third Generation Performances, we are touching on issues of intellectual property. We hope to make clear that the intention is not to "replicate" an original work, but to re-examine it through an experimental process. All due credit will be given for the ideas presented at Third Generation.
4. We look forward to shaping the festival around the submissions we receive. Thanks in advance for your adventurous spirits.
This blog has only been up a few weeks, and already we are receiving many thoughtful responses and questions. Here are some things to keep in mind about our motives for creating Third Generation Festival:
1. The scores contained in this blog are only examples. We in no way intend to limit the medium and/or method by which information is contained and compiled. We are interested in examining the score as its own document, and point of view.
2. Third Generation Performers will be assigned a score to realize at the discretion of the festival Curators. The three of the creative sources (Choreographer of Original Work, Score Author, and Third Generation Performer) will operate independently of one another. The Festival will be an opportunity to bring all three together and engage in dialogue.
3. We created Third Generation to spark something new, different, and even (perhaps) controversial. We understand that by using Original Work as the inspiration for Third Generation Performances, we are touching on issues of intellectual property. We hope to make clear that the intention is not to "replicate" an original work, but to re-examine it through an experimental process. All due credit will be given for the ideas presented at Third Generation.
4. We look forward to shaping the festival around the submissions we receive. Thanks in advance for your adventurous spirits.
Tuesday, June 2, 2009
Submit to Third Generation Festival!
Apply to have your scores performed at Third Generation Festival! Or apply to be a Third Generation performer, and realize a score at the festival from August 20-22! Fill out the forms below...
Score Submissions (due June 15th) Fill out this form
Performer Submissions (due June 22nd) Fill out this form
Score Submissions (due June 15th) Fill out this form
Performer Submissions (due June 22nd) Fill out this form
Score
A collection of instructions for a piece I did NOT see -- compiled from conversations by audience members about Marten Spangberg's performance at Judson Church during the Movement Research Fall 2008 Festival:
1. Talk about what you are going to do. Explain that there is a "sentimental part" 20 minutes in, so not to leave before that happens. Explain that you usually do the piece in chinese slippers.
2. Do an interpretation of Steve Paxton's "Goldberg Variations" (all but one). Ideosyncratic movement starts to creep in 5-7 minutes in.
3. Sing five songs by the Bueno Vista Social Club over Karaoke while doing subtle movements occasionally. During breaks, do a "salsa trot." Read lyrics directly from the liner notes. In between songs, leave a long pause for clapping.
4. Take off glasses. Stand with arms out and scan the room. Do the last Goldberg Variation.
Notes: This piece was called "Powered by Emotion." When performing this score, do the parts that resonate with you, as Spangberg did the same with Paxton's variations. Perhaps you could add your own interjection?
1. Talk about what you are going to do. Explain that there is a "sentimental part" 20 minutes in, so not to leave before that happens. Explain that you usually do the piece in chinese slippers.
2. Do an interpretation of Steve Paxton's "Goldberg Variations" (all but one). Ideosyncratic movement starts to creep in 5-7 minutes in.
3. Sing five songs by the Bueno Vista Social Club over Karaoke while doing subtle movements occasionally. During breaks, do a "salsa trot." Read lyrics directly from the liner notes. In between songs, leave a long pause for clapping.
4. Take off glasses. Stand with arms out and scan the room. Do the last Goldberg Variation.
Notes: This piece was called "Powered by Emotion." When performing this score, do the parts that resonate with you, as Spangberg did the same with Paxton's variations. Perhaps you could add your own interjection?
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