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The piece translated the filmic language of Fassbinder's Bitter Tears of Petra von Kant onto a stage of male dancers. The music and sound design was made up of three elements. The main being that of atmospheric, barely perceptible, hisses and tones made within the limited looping potential of cheap samplers. Intermittently throughout the show the choreography broke out into ensemble arrangements along with guitar/saxophone versions of records played on the referenced film. The third element, complemented by my sound design, was an ominous transitionary state in which the performers 'prepared' the stage for a new section.