CURATED – TEMPORARY DISTORTION – MY VOICE HAS AN ECHO IN IT

> > > SEPTEMBER 15 – OCTOBER 4, 2014 PERFORMANCE AT EMPAC

> > > CURATOR: ASH BULAYEV (COMMISSIONED WORK)

> > > ARTIST: TEMPORARY DISTORTION

MY VOICE HAS AN ECHO IN IT is a six-hour, installation-based, durational performance with live music, text, and video, unfolding in a fully enclosed 24′ x 6′ hallway. Spectators watch the performance through two-way mirrors, lining the 24′ long walls of the installation. While the audience can see inside the box, the performer sees only his reflection in the two-way mirrors-stretching off infinitely in both directions. Viewers are free to come and go throughout the six-hour duration of the event. All performers are completely confined within the freestanding, soundproof box. The audience listens to the performance through headphones stationed along the windows of the soundproof box. Twenty-four sets of headphones are available at a time-twelve on each side­ for listening to the performance.

All of the instruments (including the drums) are electric and plugged directly into a mixing board. The audio signal is sent straight to the headphones. No additional amplification is employed, although speakers outside the box play prerecorded ambient music for those waiting. A common assumption regarding live performance is that the audience is able to share a unique moment in time with the performer; however, in MY VOICE HAS AN ECHO IN IT this relationship is complicated by the introduction of a deliberate delay in the audio feed received by the listener.

This brief intervention calls into question the very liveness of the event, since all sounds created by the performers are first captured, processed, and stored by a computer before being played back for the listener an instant later-technically creating a prerecorded event.

Temporary Distortion has earned a reputation for pushing the boundaries of theater by staging unsettling and meditative acts in claustrophobic, boxlike structures, featuring minimal physical movement and a uniquely restrained style of performance. The company’s work began with performances in life-size shadow boxes that evolved into larger and more open-frame structures, permitting greater flexibility and visual variety. These structures allowed the form of the shadow box to evolve into a multifaceted and multifunctional assemblage, with any number of theatrical apparatus attached, including: lights, microphones, speakers, television monitors, and video projection surfaces.

Temporary Distortion’s work explores the potential tensions between practices in visual art, installation, theater, cinema, and music. “Temporary Distortion just keep elevating their game. You could call that game sculptural video, or perhaps living set design, or maybe just multimedia ravishment.“ (TimeOut NY)

The company is based in New York City, where its work has been presented at The Baryshnikov Arts Center, The Chocolate Factory, The Ontological-Hysteric Theater and Performance Space 122. The Company’s work has also been presented internationally at: Brisbane Powerhouse (Brisbane, Australia), Exit Festival (Paris, France), Gare Saint-Sauveur (Lille, France), LiFE (Saint-Nazaire, France), Mois Multi (Quebec City, Canada), On the Boards (Seattle, Washington), Prague Quadrennial (Prague, Czech Republic), Salzburg Festival (Salzburg, Austria), SPAC (Shizuoka, Japan), Théâtre de l’Agora (Évry, France), Théâtre Garonne (Toulouse, France), Theatre Junction (Calgary, Canada), Theatre National de Toulouse (Toulouse, France), Trafó (Budapest, Hungary), Usine-C (Montreal, Canada), Via Festival (Maubeuge, France)..

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