Iris ter Schiphorst, Peter Staatsmann
Erlaube, Fremdling, dass ich dich berühre II (Allow me, stranger, to touch you II) (2006)
for the WP 2006 at the Kulturbrauerei, Berlin
Introduction
'Erlaube, Fremdling, dass ich dich berühre II (Allow me, stranger, to touch youII') combines and synthesises instrumental sounds, samples and scenic moments into an intense composition about the tense and conflict-laden processes of globalised, networked communication, which is fundamentally and irreversibly changing our categories of space and time. Participation in these processes or exclusion from these fundamental changes will determine the future of our societies and our world. In her musical-theatrical suite, Iris ter Schiphorst examines our technologically revolutionised present, recalling the 1963 work 'Die Schachtel' (The Box) by Franco Evangelisti and Franco Nonnis.
On stage, we encounter two independent ensembles communicating with each other: a trio consisting of piano/sampler, violin and cello on the left and a traditional string quartet plus electric guitar on the right. This process of communication, which takes place in MUSIK, is at the heart of the performance. The two instrumental ensembles and two players/singers define the social framework: through them, we perceive 'individuals' or 'subjects' in this soundscape. The 'networked self' and its relationship to that unknown 'stranger', who becomes a mirroring and deceptive projection surface for the networked society, possibly showing it nothing but its own desires, obsessions and fears.
(Peter Staatsmann, Iris ter Schiphorst)
Some notes on the connection between "Allow me to touch you, stranger" and "Die Schachtel(The Box)" by Franco Evangelisti
The question that guided me from the outset of my project was: is it possible to represent a socio-political issue such as the 'digital divide' in, with or through MUSIC? And what historical models exist for such an undertaking? Franco Evangelisti and Franco Nonnis's "The Box" kept coming to mind, which I had always found extraordinary, both formally and artistically-aesthetically, as well as in its political aspirations. In addition, it seemed to me to be 'similar' to my project in terms of content, as Die Schachtel also addresses a 'new' media reality, a 'new' media-driven social condition, namely television, which has increasingly flooded everyday life since the 1960s; At the time SCHACHTEL was created, television was as politically and socially influential and revolutionary as the World Wide Web is today.
In this respect, during the creative process of 'Fremdling', 'Die Schachtel' became not only a kind of 'pre-model' for me, but also quite specifically a 'template' from which I adopted some basic constellations and characteristics, e.g. the cast and the way language is treated. My work also features players, projections and playback tapes. In my case, too, the few texts come from tape and, as in Die Schachtel, are neither poetic nor literary in their own right, but simply 'slogans' on the subject of the World Wide Web, as they appear everywhere in the media.
In addition, I have adhered in a certain way to the basic structure of SCHACHTEL. More precisely: to the heading underlying each 'structure' of SCHACHTEL. In this way, I also arrive at six parts, each of which refers in terms of content and structure to the respective heading and is also indicated in my score. Parts A, B1, B2, B3, B4 and C, as they appear in SCHACHTEL, correspond to the movement titles in 'Erlaube Fremdling, dass ich dich berühre II':
1st movement A "Discourse on Personality" / Constellation of the Disparate
2nd movement B1 "Liberating reactions"
3rd movement B2 "Neurosis as a means of escape"
4. Movement B3 "The Lyrical Excuse" / Emotion as a Means of Escape
5. Movement B4 "The reaction to mass psychology;
dissociation of language and gestures; escape into hectic activity."
6th movement C Finale/ "Glorification of the system of least resistance."
Of course, as in SCHACHTEL, there are instrumentalists, but in my case there are two ensembles without a conductor. This is a significant difference. Because I wanted – more than is the case in SCHACHTEL, in my opinion – to also address 'my theme' IN THE MUSIC itself, in the compositional treatment of these two ensembles. I wanted to 'tell' this story in the music as well. In my opinion, the presence of these two independent ensembles makes this possible. The communication process between the two ensembles is the focus of my performance. By following and experiencing its progress and processes, I try to make audible what is happening and at stake in our present. The spectrum ranges from 'isolation' to 'togetherness', 'coexistence', 'opposition', 'successful communication' or even 'failure of communication'.
The two players have the task of defining the social framework: their presence makes it possible to introduce two different 'individuals' or 'subjects' into this soundscape and, through tiny 'scenes', to limit the infinitely broad horizon of associations in the music in line with the theme.
In this respect, 'Erlaube Fremdling, dass ich dich berühre' is musically and aesthetically very different from 'Die Schachtel', which works in part with open forms, improvisations and a timeline determined by the director and conductor himself. But despite these differences, my work is connected to DIE SCHACHTEL in a special way. Yes, I might even say that without DIE SCHACHTEL, FREMDLING would not have existed. And this statement should be understood not least as a tribute to a magnificent piece of music history.
copyright, Iris ter Schiphorst (8 November 2005)