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The Monologues
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The “Breton Suite Montagne” traditional bagpipe
music began by masquerading as part of the preshow music in the
stereo speaker pair upstage. It then slowly increased in volume
and crept around the audience until they were engulfed in the
sound of the pipes. This served as a sort of “gathering of the
clans,” a calling together for the opening of the show. This
piece consists of seven separate edit points to maintain
musicality while fitting into a smaller time window.
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Michael has five monologues, all as a grown man recalling his youth. I
underscored all of them to give a feeling of otherness, three with
looped edits of different sections of “The Women of Ireland” by Celtic
band “The Chieftains”. The first two sections were different
arrangements of traditional instrumentation. The original recording (3) also
had a heavily orchestrated ending that made for great curtain music.
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One of Michael's monologues coincided with his uncle having a
flashback to when he was a Catholic missionary in Africa. As much of the
symbolism of the play was drawing a parallel between the two cultures
and religions, I used the sounds of an African tribal ceremony to
underscore this one. Only the memory monologues were underscored to
contrast the time set of the rest of the play.
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Please click on the links
below for more details and concepts of my design for
Dancing at Lughnasa.
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This was also the
debut of Professor Steve M. Zapytowski and my collaborative design for an 8
channel surround system in Wright-Curtis Theatre. For you techies who like such
things,
click on the links below.
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