All last week, I was in the small town of Lichtenberg, Germany with my brass quintet, the Emerald Brass. We were participating in an exciting event called "Rekkenze Brass Week." It was sponsored by the Rekkenze Brass, a group of international brass players based out of Hof, Germany. Read on for a summary of the highlights of the trip!
The Emerald Brass on the Marketplatz of Hof, Germany
I'm back from Glimmerglass opera in Cooperstown, New York. (I'm currently working on a print article due next week. But if you're eager to read a review of the internationally-known company's season now, check out Tony Tomasini's excellent piece in Wednesday's New York Times.)
While I was there, I has the privilege of hearing Jonathan Miller give a talk to a small crowd of fans. Miller, a British medical doctor who has become a celebrated opera director, spoke for a little more than an hour, without notes. He described his influences and approach to directing, citing his greatest influences as philosophers and photographers. (Here I was on the edge of my seat.)
John Searle's book Speech Arts teases out the meanings of sentences and explores the notion of context. Take any sentence, Miller said. WHO utters it determines its meaning and weight. Where is it coming from? This makes all the difference.
He described his efforts to work with what he called Jurassic Park singers, who spread their arms and belt, oblivious and stilted. He tries to teach these performers to act naturally on stage. He tunes into people's involuntary acts such as twirling a lock of hair, rubbing the edge of a table, making fluttery hand motions. These are the small, subtle gestures he tries to coax from singers.
Miller takes that one step further, he said. He doesn't want to direct these gestures at all. His role, he said, is to create an atmosphere in which singers invent expressive movements on their own. He also considers the sensibility of the mind which produced a work of art before he presents it to a contemporary audience. For example, when asked to film Alice in Wonderland, Miller didn't call a special effects crew. Instead, he explored what childhood meant during the Victorian era, when Lewis Carroll wrote the book.
Victorians considered childhood a magical time, a time of incredibly vivid experiences. Kids see everyday life with visionary intensity, they thought, something they lose as they grow older. So instead of dazzling his audience with weird scenery and costumes, Miller directed this sequence as though it were a dream a Victorian child might have.
Tim Burton is making a new film version of Alice in Wonderland with Johnny Depp and Helena Bonham Carter that's due to be released next year. Miller says it'll probably be filled with amazing special effects. He laughed. He'll go see it anyway, he said.