For practical information, click on the following:
ATELIER SCHEDULE
PRACTICAL INFORMATION FOR PARTICIPANTS
Dress code for the atelier final concert: All black, long legs and sleeves, barefoot.
***
REPERTOIRE
Music scores are available for ordering/downloading at the following page on the website of Editio Music Budapest:
http://www.kotta.info/en/campaign/EC2015B9
- Alexander Kastalsky: Miloserdija dveri / Open Unto Us the Doors of Compassion (based on Znameny chant)
- Stephen Hatfield: Tjak (based on Balinese chant)
- Stephen Hatfield: Ödi ödi (based on Tamil chant)
- Donald Patriquin: Inuit Weather Chant (based on Inuit Chant)
- Victor Paranjoti: Dravidian Dythiramb (based on Indian chant)
- Ralph M. Johnson: Louez le seigneur!
- Hanaqpachaq cussicuinin (Peru processional chant, cca. 1613)
- Kresnice (Slovenian midsummer chant)
- arr. Karmina Šilec: Axion estin (Greek Eastern Church chant) (score will be distributed in Pécs)
***
VIDEOS/SOUNDS CONNECTED TO THE ATELIER TOPIC
For thousands of years, humans have recognized the remarkable power and ability of sound, voice and music to bring joy into their lives, to give meaning to life's rituals and passages, and to connect us with a divine presence greater than ourselves. The ancient art of chanting has long been embraced by the world's great religious traditions as a path to healing and enlightenment.
Chants serve many purposes: telling stories such as the tale of Lord Rama in the great Indian epic of Ramayana; casting out diseases in the healing chants of the Siberian shaman; befriending the snake spirits from Australian aborigines; it could be a honey gathering chant from the pygmies of Central Africa; or serve in church ceremonies as Gregorian plainsongs.
Choregie is an awakening of a creative state: to understand, to feel, to experience, to be aware of, to come in contact with, to touch on, to cooperate, to give meaning to...
The five Choregie elements are as follows:
- Motion (moving, dancing)
Motion is actively incorporated into all segments of work and is not present only in the final product as movement on stage or choreography. Movement is at work in improvisations (vocal, motive, rhythmic, dramatic), it is involved in the vocal technique, diction, intonation and rhythm, in mental training, teambuilding, relaxation and physical training.
- Voice Exploratorium (vocalizing with extended vocal techniques)
The process of working with voice could be called the Voice Laboratory or better, Voice Exploratorium. Voice is the basic central element of exploration. We explore new sounds, new vocal techniques, new forms of vocal expression, whereby voice is understood as an instrument, as a convincing, eloquent, brilliant and tangible language in itself. It is an exploration of dimensions of how voice can be used in the broadest possible sense.
- Sculpting (training of body and mind)
Sculpting is a laboratory of mind, emotions and expression in general. This field of research of the inside of performers is an exciting territory focused mostly on the removing of certain reluctances or barriers of the performers, mental as well as physical.
- Imaginating (laboratory of experience and improvisation as a practice of creativity)
Imagination is actually crucial for whatever we do in life. It is in a sense a vision of what is to happen in the future. With the technique of imagining we achieve insights into the inner world of the performers where inner forces of concentration and imagination spring to life. These insights help the performers to grow, to open up to various new dimensions and at the same time mature in the understanding that their role is the transfer of various imagining to the audience. Imagining, regardless of its form, is closely linked to the terms such as concentration, motivation, collective connectedness, elimination of obstacles, encouraging of creativity, etc.
- Ritual
When performing on stage we like the performers to appear as natural as possible, with an honest presence, which we come close to when we are in a ritual. We still carry ritual roots deep inside, even though it seems that there is not much left of the ritual today. Therefore, in the search of this primal feeling when singing and creating in general, we focus on dimensions of the ritual.
"For all singers who wish to get higher performance abilities and evoke more creativity by using Motion (moving, dancing),Voice Exploratorium (vocalizing with diffrenet vocal techniques),Sculpting (training of body and mind), Improvisation (a laboratory of experience)"
/Karmina ŠILEC/
