| dc.date.accessioned | 2018-12-12T13:47:53Z | |
| dc.date.available | 2018-12-12T13:47:53Z | |
| dc.date.issued | 2018-07-06 | |
| dc.identifier.uri | http://hdl.handle.net/2077/58375 | |
| dc.description | In the Darkness was performed seven times during 2018: at Halmstads Teater 6 July, twice at Nordic House in Reykjavik 28 October as a part of Óperudagar 2018, twice at Atalante in Gothenburg 2–3 November 2018, and twice at Inter Arts Center in Malmö as a part of Transistorfestivalen. | sv |
| dc.language.iso | eng | sv |
| dc.subject | Opera | sv |
| dc.subject | Immersion | sv |
| dc.subject | Darkness | sv |
| dc.title | In the Darkness, Everything Went All Black | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Jalhed, Hedvig | |
| art.typeOfWork | Opera | sv |
| art.relation.publishedIn | Halmstad, Sweden | sv |
| art.description.project | One aim with the opera In the Darkness, Eveything Went All Black was to explore the expressive abilities of vocal dramatization with a minimum of visual stimuli and concrete information about the setting. This corresponds to my research question of how immersive opera can be understood and interpreted. This project included the artists’ working process as well as a visitor survey. The concept of reducing visual stimuli in an operatic performance in the way that was carried out in this opera points to some challenges. In their comments, a couple of respondents remarked on how they lost track of time, which for some felt relaxing and for some frustrating. Moreover, a few described how they had hard to concentrate without visual stimuli, and that they become inattentive. However, the responses also indicates that the ability to envision things without concrete representations is an underappreciated tool for theatrical design in that it can be an effective method to generate visceral experiences. A heightened responsibility to produce mental images was put on the individual visitors, in order to give meaning to the minimalistic semantic qualities of the work. Unsupported and unchallenged by visual signs and representations, potentially both enforcing and ambiguous, the vocal performance in this particular opera becomes the bearing element in the art work, together with ambience sound an figurative representations. As a majority of the responding visitors managed to produce some kind of inner vision without much help from verbal information, I conclude that the concept showed a potential to generate concrete inner images and meanings through somatic sensations. Based on the research material from the opera, I suggest that further investigations of how to offer training and preparations for visitors to enhance their ability to create inner images and sensations might be fruitful for further conceptual development.
Please see more info in the attached PDF. | sv |
| art.description.summary | The sensory opera In the Darkness, Everything Went All Black was an experimentation with immersive sound in total darkness. Do we listen more actively when we can’t see? How do we perceive sound in the dark? The opera was written for two singers and live electronics and performed in English. | sv |
| art.description.supportedBy | Kultur i Halland, Halmstads kommun, Stiftelsen Scenkonstens historia i Göteborg, Statens Kulturråd, Nordisk Kulturkontakt
Mattias Rylander (set design), Jörgen Dahlqvist (libretto), Kent Olofsson (music), Agnes Wästfelt (operatic performance) | sv |
