German
Johannes Kreidler Composer

Selbstausloeser (selftrigger) (2019)

music theater for 2 performers, choir, audio and video playback

duration: ca. 115'

fp: 28.9.2019 Volksbuehne Berlin

BAM! Festival für aktuelles Musiktheater

Johannes Kreidler and Arno Luecker, Performance
Vokalensemble PHOENIX16, Cond. Timo Kreuser

Concept, Composition, Directing: Johannes Kreidler
Dramaturgy: Arno Luecker
Stage: Dejana Sekulic
Video: Johannes Kreidler, Dejana Sekulic
Video Coordinator: Peter Lell

Cameras: Uli Aumueller, Jakob Bauer, Adrian Schmidt

Megatrailer (english subtitles)

 

Picture Gallery

 

Excerpts

 

 

 

 

 

 

 

 

the whole piece (english subtitles)

 

Script

 

"I myself regard the cello as a part of all things and as the center of the universe" Gregor Piatigorsky

Self-timer is a piece about instruments and the term 'instrument'. When we listen to music, we hear instruments, they are the initial access to the world of sound, the musical means of realization: sound is created and shaped by means of available objects, physical techniques and practiced movements. Not so different are other, mass-produced devices as access to the world of which we are all 'instrumentalists' - mobile phones, keyboards, platforms like Facebook, the Twitterstream. With this instrument we also move within certain possibilities and structures, do things and get tuned. And in German the word 'Instrument' often functions as a (political) metaphor: "The rent brake is an instrument for regulating the housing market".
As "post-musical music theatre", the physics and metaphysics of the instruments are illuminated here, the dictatorship of the instrumentation in the mechanized world being carried out, suffered and enjoyed using the example of musical instruments. The fact is: when we listen to music, we hear instruments. Some things behave, from a cellophilosophical point of view, quite differently than if you approach them from a flute-philosophical point of view. The bow stroke as a bow stroke, for example, from music-ethnological myths ("the drum made of goat skin represents the musical substance of the sacrifice") to modern myths ("because he was left-handed and held it upside down, Hendrix was phenomenally able to play the guitar"); media theory can be converted to musical instruments ("sometimes you play the recorder, sometimes you are the recorder") and from there back to the interfaces of the digital society of the 21st century. And from there back to the interfaces of the digital society of the 21st century - where one can also debate on Facebook whether the non-vegan components of instruments (horsehair bows, gut strings, timpani skins) are still ethically justifiable, while in the Amazon customer reviews the discourse is running hot as to whether the one-tone bing-bicycle bells are superior to the old ritschritsch bells or not.
Whether one prefers bowing or blowing, whether one prefers to strike the keys as a soloist or to strike the cymbal at the climax of the symphony - the psychology of the instruments, for both players and listeners, is complex, and whatever is played with them: The sound fades away, the instrument remains. Playing the piano is philosophising with the hammer. The guillotine in the Paris of the revolution was made by a German piano maker named Tobias Schmidt. An instrument of power and murder. Every instrument is an abyss, it makes you dizzy when you touch it. Can a musical instrument be critical? A good philosophy is an instrument warehouse. And yet, we never experience the music itself, always through an instrument. That's why so many music lovers fail. You can't get any sound out of some instruments at all. There are instruments whose body itself, without a skin or string stretched over it, sounds - the cymbal, the bell, the glass harp. They are idiophones, 'self-sounders' - what would then be, now it becomes speculative, 'self-trigger'? What does the instrument play with you now...?

 

 

 

 

 

 

 

 

 

 

 

Commission of BAM!Festival für aktuelles Musiktheater

 

 

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