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Brigitta

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MEMORIAL OF REBELLION

Memorial of Rebellion 

audio-visual installation for 5 performers, video and electronics 

 

music, conception, direction: Brigitta Muntendorf 

conception, direction: Michael Höppner 

premiere: 18.09.2020Ultima Festival Oslo 

commissioned by: Ultima, November Music and Huddersfield Contemporary Music Festival 

duration: 19 min. 

performed by: Carola Schaal (voice, performance), Louis Bona (viola, voice, performance), Till Künkler (trombone, voice, performance), Malgorzata Walentynowicz (voice, performance)Evdoxia Filippou (voice, performance) 

video, mappingWarped Type (Andreas Huck, Roland Nebe) 

light designMartin Siemann 

costume, make up: Jule Saworski  
audiomixMaximiliano Estudies 

 

technical / spatial needs: All elements of the installation are synchronized and played back by a single laptop. There are three video projections in the space: Two projections show the same video projected on two opposite walls or screens, a second video is projected via video mapping on 5 plaster masks of the performers. Two visitors at a time need to be equipped with a pair of headphones each, which receive the preproduced audio wirelessly. The light design creates an immersive space and guides through the installation, controlled by cues from the laptop. The audio guide is implemented in the composition. Regarding the space it needs one waiting area connected to a bigger space for the main ceremony.  

 

adaptions: Memorial of Rebellion is based on the music theatre Songs of Rebellion 

 

ABOUT  

The audio-visual installation Memorial of Rebellion combines music, projections and light in an immersive space in which escapism and agitation, art and politics, contemporary music and pop, contemplation and action become fanfare and lullaby for the rebellion. 

Based on their previous music theatre Songs of Rebellion, Brigitta Muntendorf and Michael Höppner created Memorial of Rebellion as an independent work, after the planed performances were cancelled. Influenced by the 2020 pandemic, the installation creates an intimate situation, in which two visitors at a time take a socially-distanced journey down their personal memory-trail via two separated audio and video projections. 

Wearing headphones, the visitors listen to this ceremony experience in their own silent space; a space in which an individual commemoration of their own neglected or failed rebellions may take place. The pandemic is not a state of emergency; it is the radicalization of the status quo.

current works

COVERED CULTURE

multichannel audio-video installation by Muntendorf / Lobeck

We are companions, cum panis, at table together. (Donna Haraway)

In the German-Asian project COVERED CULTURE, Brigitta Muntendorf and Moritz Lobeck explore cultural imprints, individual interpretations and collective appropriations as potentials of the choric forms. The musical object of analysis is the humming – as sound, in its intimate and personal meaning and as a moment of levelling.

Based on fragments of Beethoven’s vocal music and his political view of the collective, Muntendorf/Lobeck develop an 8-channel audiovisual installation in which voices and images of singers of the Beijing Queer Chorus, the opera choir of Deutsches Nationaltheater Weimar and numerous singers and performers from China, Korea and Japan are established as a virtual choir. For the exhibitions in Berlin, Shanghai and Beijing the choir and the audience are connected within a table object designed by the Japanese architect KATO and prepared with exciters to form a social sculpture. On the other hand, soundwalls are part of the installations in Seoul, Tokyo and Kyoto. In this joint discovery and investigation of the unfamiliar, COVERED CULTURE follows the vision of a hyperculture and the critical questioning of hymnal celebratory cultures.

COVERED CULTURE is the first joint work by Muntendorf/Lobeck, their next project is the music theatre „MELENCOLIA“ for Ensemble Modern, commissioned by Bregenzer Festspiele 2022.

VISIT THE PROJECT WEBSITE: www.covered-culture.org

 

Concept, music, video: Brigitta Muntendorf 

Concept, dramaturgy: Moritz Lobeck

Design sound table: KATO Hiroshi and Giacomo Sponzilli

Light: Begoña Garcia Navas

Multichannel mix / audiodesign: Sebastian Schottke

Audio / video network system: Maximilian Estudies

Video technology / planning: Warped Type

Assistant: Nicolas Berge

Choir // solo singer: Beijing Queer ChorusOpera Choir of Deutsches Nationaltheater Weimar, Open Call Choir (self recordings of numerous people from Japan, Korea and China provided by an open call) // Shii, Menthae (Shanghai), Maki Ota (Kyoto), Esther Lee (Seoul / Berlin)

Performer:  XIAO KE x ZI HAN,  LIN CUIXI, Xinxin Song, Zhihao Huang, Jianjie Wu (Shanghai) / Ensemble Sonne: Toshiko Oka, Masaru Kakio, Seiko Kuwano, Koji Itose, Ema Fumiyama (Osaka / Kyoto)

Recording Teams: Marc Mehanni (camera) / Elsa Michanol (assistant), Day Yokota (camera)

COVERED CULTURE: BERLIN, SEOUL, SHANGHAI, BEIJING, TOKYO, KYOTO

COVERED CULTURE #1 BERLIN / RADIALSYSTEM

COVERED CULTURE #2 SHANGHAI / DUOLUN MUSEUM OF MODERN ART

COVERED CULTURE #3 SEOUL / LOOP ALT SPACE

COVERED CULTURE #4 BEIJING

COMING SOON

COVERED CULTURE #5 YOKOHAMA / TPAM FESTIVAL

COVERED CULTURE #6 KYOTO / KYOTO EXPERIMENT

Allgemein

AUDIOVISUAL INSTALLATIONS

COVERED CULTURE (2020)

15min loop – audio visual installation

THEATRE OF ECHO / THEATER DES NACHHALLS (2020)

45min audiovisual concert installation / multichannel/ multiscreen / GrauSchumacher Piano Duo

ARABESQUE (2020) / Ensemble Modern

video installation based on „ballet for eleven“

Public Privacy #6: voice – bright no more (2017)

performance scene for singer, video and electronics

Public Privacy # instant – voices I’ve heard (2016)

The piano player | audio visual installation

Public Privacy #shift_ctr | audio visual surveillance sculpture (2016)

video, tape and 1-5 live-performer

LIVING THESIS (2015)

audio visual installation

Hello Body! (2012)

video in collaboration with Jürgen Palmer and Nicola Gründel

Allgemein

PROLOGUE

for orchestra

part of: Bilderschlachten / Batailles d’Images

instrumentation: PROLOGUE has nearly the same instrumentation as Bernd Alois Zimmermanns Musique pour les soupers du Roi Ubu. The string quartet is added – Prologue + Chiral Spiral (for string quartet and electronic) is composed as a counterpart and leads directly into Zimmermanns piece. A combination is desired, but PROLOGUE can of course be played independently.

3 (Picc), 3 (Eh), 3 (BKlar), TSax, 3 (Kfag) – 4, 3, 3, 1 – Pk, Schlg (2) – Hfe, 2Git (Md, elGit) – Klav (Cel), Org – 4Kb; Combo: Klar, Kornett, elGit, elKb + string quartet and tape (Click track for the conductor)

duration: 10 min

space: the orchestra is spread in the audience space in 7 groups, the conductor is on stage or anywhere else on the opposite side of the orchestra

recording can be downloaded, please contact the composer

current works

ARCHIPEL (2020/21)

Ein Spektakel der Vermischungen / a Spectacle of Blending.

for 13 musicians, 10 dancers, choir and live electronics

PREMIERE AT THE RUHRTRIENNALE (OPENING) and ULTIMA FESTIVAL OSLO (OPENING) CANCELLED. WE GO ON PRODUCING, WE SHOW OUR WORK in 2021. WATCH OUT!


Künstlerische Leitung, Konzept, Komposition: Brigitta Muntendorf Künstlerische Leitung, Konzept, Choreografie: Stephanie Thiersch
Architektur: Sou Fujimoto
Dramaturgie: Stawrula Panagiotaki, Juliane Votteler
Musikalische Leitung: Mariano Chiacchiarini
Lichtdesign: Begoña Garcia Navas
Klangregie: Sebastian Schottke
Live-Elektronik / Programmierung: Maximiliano Estudies
Kostüme: Sita Messer, Lauren Steel
Choreografische Assistenz: Marcela Ruíz Quintero, Viviana Escalé,
Produktionsleitung: Harriet Lesch, littlebit GbR
Produktion: Sarah Heinrich
Technische Leitung: Gerhard Pichler
Bühnenkonstruktion: Studio Hamburg

Ensemble Garage:
Nils Kohler, Klarinetten
Carola Schaal, Klarinetten
Pablo Giw, Trompete 
Till Künkler, Posaune
Małgorzata Walentynowicz, Synthesizer 
Yuka Ohta, Perkussion
Jonathan Shapiro, Perkussion
Joss Turnbull, Perkussion
Moritz Baerens, Kontrabass 

Asasello Quartett:
Rostislav Kozhevnikov, 1. Violine
Barbara Streil, 2. Violine
Teemu Myöhänen, Cello
Justyna Śliwa, Viola

Det Norske Solistkor / The Norwegian Soloists’ Choir
Probenleitung Chor: Yuval Weinberg

MOUVOIR:
Fabien Almakiewicz
Neus Barcons Roca
Alexis „Maca“ Fernández
Julien Ferranti
Kelvin Kilonzo
Gyung Moo Kim
Margaux Marielle-Tréhoüart
Alexandra Naudet
Camille Revol
Joel Suárez Gómez

Architecture, dance and music enter an entirely new alliance as a sculpture created by the Japanese architect Sou Fujimoto is on the one hand a landscape on the other it is able to produce sound as a result of the cast dancing on it. The choreography by Stephanie Thiersch and the music by Brigitta Muntendorf generate a universe in which genres mingle and become blurred: Sound is produced by movement, by touch and space, by moods and silence. We find ourselves on an archipelago of possibilities, searching for new forms of composition and communication: looking for understanding that goes beyond language and signs, further than expressions and gestures. It will be a journey towards a “togetherness”, embarking on a quest towards ancient and organic processes of understanding that challenge our powers of perception. We are all connected by links and playing, we are all searching for a different way of dealing with ourselves and with the world. The audience are also passengers on this journey. 

Architektur, Tanz und Musik gehen eine vollkommen neue Allianz ein: Die vom japanischen Architekten Sou Fujimoto geschaffene Skulptur ist einerseits Landschaft und kann zugleich Klang erzeugen, indem Tänzer*innen, Musiker*innen und Sänger*innen sich auf ihr bewegen. Die Choreografie von Stephanie Thiersch und die Musik von Brigitta Muntendorf arbeiten mit der Vermischung der Genres: Berührung und Bewegung formen Klang, wie Stimmung und Stille den Raum. Musik und Tanz entstehen gleichzeitig. Wir befinden uns in einem Archipel der Möglichkeiten, auf der Suche nach Neuem in der Komposition, Kommunikation und Verständigung, über Sprache und Zeichen hinweg, hinter Ausdruck und Geste. Es geht um die Reise zu einem „Miteinander“, um ein Erkunden von archaischen, biologischen Prozessen, die unsere Wahrnehmung herausfordern. Wir alle sind verbunden und auf der Suche nach einer anderen Form, mit Welt umzugehen: auch das Publikum wird ein Passagier dieser Reise.



Produziert von Ensemble Garage e.V. und MOUVOIR e.V.

Koproduziert von Ruhrtriennale und Ultima – Oslo Contemporary Music Festival. In Kooperation mit tanzhaus nrw. Unterstützt von Zentrum für Zeitgenössischen Tanz, Hochschule für Musik und Tanz Köln und LOFFT Leipzig

Gefördert durch BTHVN2020 – aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien des Landes Nordrhein-Westfalen, der Stadt Bonn und des Rhein-Sieg-Kreises, Kunststiftung NRW, RheinEnergieStiftung Kultur

MOUVOIR / Stephanie Thiersch erhält die Exzellenzförderung des Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen und die Konzeptionsförderung des Kulturamt der Stadt Köln.

Ensemble Garage wird gefördert vom Ministerium für Kultur und Wissenschaft des Landes Nordrhein-Westfalen.

Det Norske Solistkor / The Norwegian Soloists’ Choir wird gefördert vom Norwegischen Ministerium für Kultur. 

Allgemein

ARABESQUE

video installation based on Ballet for Eleven

premiere: 1st of March 2020, Cresc Festival Ensemble Modern

performer: Ensemble Modern

duration: infinite – 8min video in loop

presentation: one big screen, one room, stereo sound

video, direction, music: Brigitta Muntendorf

recording, camera: Warped Type

costume: Sita Messer

Video

about

ARABESQUE (2020) is an audio video installation based on video recordings made in the context of Ballet for Eleven for 11 musicians, video and live-electronics (premiere 2018 / Donaueschingen Musiktage / ensemble modern).

The video installation is independent of the live performance and, on a reduced visual and musical level, questions the self about loss, about the longing for presence and the resulting distances. The musicians squirm or persist in figurativeness, the question of the instrument is existential – just as the instrument is a symbol for translation and translates breath, body and expression into music, the resulting images are silent sequences of movements that seek to reclaim this breath, body and expression.

über

Die Videoinstallation ist unabhängig von der Live-Aufführung und befragt auf reduzierter bildlicher und musikalischer Ebene das Selbst nach Verlust, nach der Sehnsucht nach Anwesenheit und entstehende Distanzen. Die Musiker winden sich oder verharren in Figürlichkeit, die Frage nach dem Instrument ist existentiell – so, wie das Instrument ein Sinnbild für die Übersetzung ist und Atem, Körper und Ausdruck in Musik überträgt, sind die entstehenden Bilder stille Sequenzen von Bewegungen, die sich diesen Atem, Körper und Ausdruck zurückerobern möchten.

upcoming

THEATRE OF ECHO

Watch online till 25.04.2020

Online Stream of all three videos / WDR.de

45min audio visual concert installation for multichannel video/audio based on „Trilogy for two pianos“/“Trilogie für zwei Flügel

premiere: N.N. (24.04.20) Wittener Tage für Neue Kammermusik – exhibition version cancelled // Online Stream of the videos on WDR3

exhibition conditions: 2-3 glas cabinets / glass coffins placed on the floor with 2-3 screens inside (3x180cm) (provided by the artist), 5.1 multichannel audio system

performer: GrauSchumacher Piano Duo

duration: 45 min / concert installation, defined beginning, defined ending

commissioned by: Wittener Tage für Neue Kammermusik, supported by Kunststiftung NRW

about Theatre of Echo

Brigitta Muntendorf Theatre of Echo, Theater des Nachhalls, GrauSchumacher Piano Duo

Trilogy for two pianos/Trilogie für zwei Flügel played live, is both music and narrative, a theatre of listening that makes transience and unstoppability tangible. The work transcends the boundaries of scene, concert and radio. Additional video material opens up a whole new dimension: the audiovisual installation „Theatre of Echo“ is the logical continuation of the concert situation. The gestures anchored in the composition are enlarged, transformed and removed from their context, spun further and reappear in idiosyncratic, alien and fictional situations.

While the music can be heard as a 5.1 surround mix, the audience wanders through a room with 3 glass cabinets on white pedestals on the floor. These showcases each contain 180cmx70cm screens on which the videos can be viewed from a bird’s eye view; a mirrored back wall blurs the boundaries to the room. The showcases are reminiscent of glass coffins as well as museum showcases.
All films are shown simultaneously, so the audience does not know which of the three videos is intended for which set. The play with synchronicities between music and image can only be guessed at at the end through the musical connections – therefore, since the music cannot tell without its live performers, which gesture (e.g. the slap on the chest to trigger a contact microphone, a slow waving to the audience as the end point of a gesture of tension) evokes a certain sound or silence.
This concert installation has a beginning and an echo, the audience can take a seat on benches, change position, keep distance from each other, depending on the room design.



Allgemein

THEATRE OF ECHO – THEATER DES NACHHALLS

Watch online till 25.04.2020

Online Stream of all three videos / WDR.de

45min audio visual concert installation for multichannel video/audio based on „Trilogy for two pianos“/“Trilogie für zwei Flügel“

premiere: N.N. (24.04.20) Wittener Tage für Neue Kammermusik – exhibition version cancelled // Online Stream of the videos on WDR3

exhibition conditions: 2-3 glas cabinets / glass coffins placed on the floor with 2-3 screens inside (3x180cm) (provided by the artist), 5.1 multichannel audio system

performer: GrauSchumacher Piano Duo

duration: 45 min / concert installation, defined beginning, defined ending

commissioned by: Wittener Tage für Neue Kammermusik, supported by Kunststiftung NRW

about Theatre of Echo / Theater des Nachhalls

Brigitta Muntendorf Theatre of Echo, Theater des Nachhalls, GrauSchumacher Piano Duo

Trilogy for two pianos/Trilogie für zwei Flügel played live, is both music and narrative, a theatre of listening that makes transience and unstoppability tangible. The work transcends the boundaries of scene, concert and radio. Additional video material opens up a whole new dimension: the audiovisual installation „Theatre of Echo“ is the logical continuation of the concert situation. The gestures anchored in the composition are enlarged, transformed and removed from their context, spun further and reappear in idiosyncratic, alien and fictional situations.

While the music can be heard as a 5.1 surround mix, the audience wanders through a room with 3 glass cabinets on white pedestals on the floor. These showcases each contain 180cmx70cm screens on which the videos can be viewed from a bird’s eye view; a mirrored back wall blurs the boundaries to the room. The showcases are reminiscent of glass coffins as well as museum showcases.
All films are shown simultaneously, so the audience does not know which of the three videos is intended for which set. The play with synchronicities between music and image can only be guessed at at the end through the musical connections – therefore, since the music cannot tell without its live performers, which gesture (e.g. the slap on the chest to trigger a contact microphone, a slow waving to the audience as the end point of a gesture of tension) evokes a certain sound or silence.
This concert installation has a beginning and an echo, the audience can take a seat on benches, change position, keep distance from each other, depending on the room design.



Allgemein

SONGS OF REBELLION

Songs_of_Rebellion_FrontMit SONGS OF REBELLION setzen sich Brigitta Muntendorf (Komposition) und Michael Höppner (Regie) gemeinsam mit MusikerInnen des Ensemble Garage, Opera Lab und mit der Performern und Klarinettistin Carola Schaal als Community of Practice der individuellen und kollektiven Kraft des Songs aus und inszenieren seine ambivalente Beziehung zu vielfältigen Formen des Aufbegehrens. Als Genre wie als kulturelles Phänomen, als Spiegelbild und Matrix des Sozialen, als Keimzelle musikalischer Expressivität und musiktheatralischer Performativität steht der Protestsong im Zentrum dieser Bühnenperformance.

In einem dreiwöchigen Probenprozess mit den MusikerInnen, den Videokünstlern von Warped Type (Andreas Huck und Roland Nebe), dem Klangregisseur Maximilian Estudies sowie der Bühnen- und Kostümbildnerin Jule Saworski entwickelt das Duo Muntendorf/Höppner unterschiedliche Formate und Szenen, in denen das paradoxe Wesen der Rebellion und deren Bühne musikalisch, medial und szenisch entfaltet werden.Das widersprüchliche, widerständig-angepasste, vergängliche oder sogar verlorene Dasein des Protestsongsals Aufputschmittel, Kult, Mythos, Widerstandsgeste oder Partymusik lässt diesen speziellen Songtypus ebenso unsterblich wie unendlich verletzlich erscheinen. SONGS OF REBELLION lässt einen Erlebnisraum musikalischer, theatralischer und medialer Schaltstellen von Widerstand und Hingabe entstehen, in dem Weltflucht und Agitation, Kunst und Politik, Neue Musik und Pop, Kontemplation und Aktion zu jeder Zeit Fanfare als auch Schlaflied der Rebellion sein können.

SONGS OF REBELLION erlebt seine Premiere bei BAM! – Berliner Festival für aktuelles Musiktheater und startet dann eine Tour über Athen (ONASSIS CENTER), Huddersfield Contemporary Music Festival, ULTIMA Festival Oslo und Musica Strasbourg.

KOMPOSITION: Brigitta Muntendorf / INSZENIERUNG: Michael Höppner / BÜHNE, KOSTÜME, MASKENBAU: Jule Saworski / VIDEO: Warped Type (Andreas Huck und Roland Nebe) /KLANGREGIE: Maximilian Estudies / TECHNISCHE PRODUKTIONSLEITUNG, LICHT: Lukas Becker MIT: Carola Schaal (Klarinette, Performance), Till Künkler (Posaune, Performance), Louis Bona (Bratsche, Performance), Malgorzata Walentynowicz (Synthesizer, Performance), Evdoxia Filippou (Percussion, Performance), Brigitta Muntendorf (Performance), Michael Höppner (Performance)

Uraufführung: 27.9. 19:30 und 28.9. 17:00  beim „BAM! – Berliner Festival für aktuelles Musiktheater“ am Ballhaus Ost (Pappelallee 15, 10437 Berlin)
Weitere Aufführungen: 29.2. 2020 am „Onassis Cultural Centre Athens”,   2.–7. Juli 2020 bei „Time of Music“ in Viitasaari/Finnland, September 2020 bei “Ultima. Oslo Contemporary Music Festival“ in Oslos/Norwegen, 29.9.-3.10. bei „Festival Musica” in Strasbourg/Frankreich, 2.–10. November 2020 bei „November Music” in Herzogenbosch/Niederlande, 20.–29. November 2020 beim „Huddersfield Contemporary Music Festival” in Huddersfield/UK

Eine Produktion von BAM! – Berliner Festival für aktuelles Musiktheater, Ultima Oslo Contemporary Music Festival und Onassis Cultural Centre Athens. Gefördert durch die Kunststiftung NRW. BAM! – ist eine Veranstaltung des ZMB – Zeitgenössisches Musiktheater Berlin e.V. in Kooperation mit Volksbühne, Acker Stadt Palast, Ballhaus Ost, Kultur Büro Elisabeth und Operadagen Rotterdam. Gefördert durch die Berliner Senatsverwaltung für Kultur und Europa (Spartenoffene Förderung), den Dutch Performing Arts Fund und die Rudolf Augstein Stiftung.

Allgemein

HandleMe – Ntandathu

for ensemble & electronics

a spacial and performative exploration based on the audio track „Natandathu“ by Electric Indigo (51195913 live)

premiere: 29.08.2018 Ruhrtriennale | Maschinenhaus Essen
direction: Brigitta Muntendorf

performer: Ensemble Garage & Electric Indigo / Tanzkreis der Nikolai Kirchengemeinde (2019/Kunstfestspiele Herrenhausen)
duration: 8 min
commissioned by Ruhrtriennale

instrumentation: flute (+picc), clarinet, alto saxophone, trombone, synthesizer, percussion, violin, viola, violoncello
technical set: Stereo PA / Amplification / Synth: Kontakt Library
score/electronics: contact me

connected to: often played together with „TRE’SPACIAL„, based on the track „Trois“ by Electric Indigo

about

Tre’Spacial and HandleMe are two pieces for ensemble and electronics developed on the basis of two tracks by the Vienna based Techno Sound Artist Electric Indigo. Brigitta Muntendorf created new syntheses from instrumental and electronic soundscapes and worked on Electric Indigos tracks in thinking of spacial and acoustic extension. HandleMe creates a combination of analog instruments and electronic experimental Techno sound – a broken sarabande as a piece of music from ancient times, a viola solo behind a bass line and a distorted baroque manner are set next to a straight beat. Brigitta Muntendorf follows the idea of music as a gate to the pure idea of pluralism and integration of every kind of existences. For the Kunstfestspiele Herrenhausen (2019) she staged the piece with a senior dance group and a singer in the audience (Agnes Lipka).