Semiotics, Presence and the Sublime in the Work of Alvin Lucier

Alvin Lucier, in his uncompromising exploration into the artistic potential of acoustic phenomena, has developed a body of work that remains highly original and hugely influential across many disciplines. His seminal works such as I am sitting in a room and Music for Solo Performer foreshadowed ways of approaching sound that are in common use among electro-acoustic composers, installation artists, as well as in commercial products. Lucier, despite his far reaching influence, is and has always been a composer, and his explorations of acoustics have been singularly focused on the development of a rich body of music. In this article, I investigate Lucier’s unique approach and attitude towards acoustics and aspire to enumerate important aesthetic developments he has made in creating music through the exploration of acoustic phenomena. In particular, this article seeks to investigate the role of semiotics in Lucier’s work, commenting on the pre-linguistic nature of Lucier’s approach to acoustic phenomenon. Here as well, an exploration of Lucier’s musical materials takes place, focusing on his instrumental compositions, specifically Diamonds for One, Two or Three Orchestras, where instruments are used as catalysts to generate in real-time acoustic phenomenon which interact to produce a rich yet intimate world of sound. Finally, Lucier’s approach to semiotics and real-time generation of music is viewed through a sublime aesthetic provoking questions regarding issues of presence and the now.

Marie Sallé, Handel, Rameau and the development of narrative dance music:Bericht vom Internationalen Symposium an der Hochschule fur Musik und Theater Leipzig

Paradigmatic analysis reveals that these two composers developed distinct responses to creating narrative in dance music

'A Romanian Perspective on Brian Friel's Translations'

Based on the premise that the history of the representation in drama of the Ulster "Troubles" has been characterised by a move from direct to metaphorical engagement, this paper seeks to explore the signficance of Brian Friel's Translations as a "Troubles Drama" with reference to a production of the play I directed for the Hungarian Theater of Cluj in the Fall of 2001. Interpreting a play about language in a language other than the one in which it was originally written proved to have many implications for the rehearsal process and led me to experiment with the image theatre techniques of Augusto Boal. The nature of Cluj/Kolozsvar as a bi-lingual city added to the complexities of the process, as did my own status as an English-speaking director in a Hungarian-speaking environment. The extraordinary neautre of the wider geopolitical context at the time of the production proved to be the final ingredient in what became an exceptional empirical process of discovery. The discussion of the particular production is placed in the wider context of an exposition of a theory of "cultural gravity" as an alternative to "liminality" in helping to assess the cultural signficance of geopolitical boundaries.

The Soviet Union and the International Brigades, 1936-1939

The International Brigades are typically viewed as a fighting force whose impetus came from the Comintern, and thus from within the walls of the Kremlin. If the assumption is essentially correct, the broader relation between Stalin’s USSR and the IB has received little attention. This chapter constitutes an empirically-based study of the Soviet role not only in the formation of the IB, but of the Red Army’s collaboration with IB units, and Moscow’s role in the climax and denouement of the brigadistas’ Spanish experience. This study’s principal conclusion is twofold: First, that the creation and sustenance of the IB was part of Stalin’s goal of linking the Loyalist cause with that of the Soviet Union and international communism, a component of a larger geo-strategic gamble which sought to create united opposition to the fascist menace, one which might eventually bring Moscow and the West into a closer alliance. The second conclusion is that the IB, like the broader projection of Soviet power and influence into the Spanish theater, was an overly ambitious operational failure whose abortive retreat is indicative of the basic weakness of the Stalinist regime in the years prior to the Second World War.

Screens, Closets, and Echo-Chambers of the Mind: The Struggle to Represent the Inner Life on Stage

Screens, Closets, and Echo-Chambers of the Mind: The Struggle to Represent the Inner Life on Stage

Les salauds vont en enfer:Pièce en 2 actes de Frédéric Dard

Edition présentée et annotée par : Hugues Galli, Thierry Gautier et Dominique Jeannerod