Parainstitut Indoš

MANIFESTO 2, KAKVE SU STVARI UISTINU (pdf)

MANIFESTO 1

A number of questions arise as we try to unravel the title DB Indoš / House of Extreme Theatre: what is musical about the extreme theatre? What is theatrical in extreme music? What is DB Indoš in the House? These are questions on different levels of becoming in the extreme, musical, theatrical, that of a house. All these are levels of becoming of performers “caught in the act” of producing an array of sounds from the “spiritual recycled rubbish”, voices that dive into their hollow parts, holes, black acoustic boxes, gestures of their hands that come in contact with the surface of the sound, going through with the fingers, insisting that the sound comes from scratching, creaking, squeeching, hitting, vibration, resonance,… There are also gestures of pulling and stretching, turning around, opening and closing, sliding and pushing, rolling, bending and tightening, twisting and turning.

From the beginning there are overlapping, interlocking, instrumental disbalance with the other elements – text, image, dance – that today provides a greater impact to the new level we are stepping on, through which we pass. It is a point of an anti-musical content in relation to what we normally understand as musical content coming from a classical source – classical instruments. Instruments of the extreme musical theatre consist of a big old hard disc, a nutcracker, a steel dryer, a funnel, steel cello, locksmith’s machine with spring drawers, magnetic plates and schachtophones, and the pieces performed on these objects are called schachtophonies. The scores are vocal-instrumental, word cuts for sound cuts and sound cuts for word cuts. Number of touching the springs is the number of word cuts that are amplified through springs. There are numbers shown between the images of coloured icons, that determine the duration of silence / pause between the vibrations of the voice and steel springs. Duration of each shachtophonia can be calculated using simple mathematical operation of summing the numbers from the graphic score, that represent a number of produced vibrations and the silences between. A number of body parts and its organs takes part in a schachtophonic performance – in relatively short time units, the schachtophonist becomes at the same time a sound body, without and with the organs. In Schachtophonia, by cutting words and sounds, by making loops of words and springs-arms – multiple desertion is performed: of words from power content and sound from musical content, a spring-man from master and a Schachtophonist from Schachtophone; clock-measured duration of time is replaced by duration of vibration of springs.

Schachtophonist’s gesture is of a class character: it interweaves gestures of a worker-spring-man and artist-musician, and by producing Schachtophonias it produces a range of existences – a spring-man of artists, an artist of spring-men, a musician of workers, a worker of musicians.