Compositions for theatre
The compositions I realize for the theater are always made in close collaboration with the theatrical team, and more particularly with the Director. The music touches a sensory and emotional dimension. It is essential to be attuned to the Director, to be able to understand clearly his desires whenever he already has a precise idea on the question. Hence a regular communication with the Director is essential, so that successive attempts enrich the initial musical pattern. The music must fit the actors, and the way they move: they must understand it and be able to interact with it. For this purpose it is important for me to attend rehearsals, in to capture the body language of the various actors on stage.
In theater, Sound does not mean necessarily Music, it can also mean scenography, or sound effects. For that purpose, the use of a simple sound file which we would just play and stop at a precise moment raises several problems. The first one is the rigidity of such an approach, as the generation or the synthesis of the sound on stage needs more flexibility. The distribution of several sounds at the same time, for example a sound of atmosphere which will be heard along a whole scene, and a short sound representing an event which the spectators do not see, should be thought and prepared beforehand, as they impact the way sounds will be broadcast.
For these reasons, all my sound files and compositions are embedded into a Max/MSP patch specially designed and optimized for the play.