a new vocality

a new vocality . I am thinking here
of some of the things i've been reading in glenn
gould's essays and notes .
i m not even sure yet what I mean, however,
it might (it being a conception of voice and
recording I have not figured out yet)
be more evasive, something
whichspins off the top of the instrumentation.
in previous work with musical accompaniment
there was always so much emphasis on
the live event it wore off (down) the
truly experimental nature of things.

its an old paradox, the live &
the recorded. which is why I am thinking of
the performance and show as being Radio,
live radio. But a radio on stage.
So no more readers that's for certain,
readings or readers in any conventional
sense had their better day,and in my view
can no longer be useful.
I mean who needs to see a reader reading a text?
Music, sound or no sound. Whereas if the
performance is a radio, one sees nothing.
Radio walls as curtains .

As much as I admire (admire might
be too mild a way of expressing some
of my feelings about great recitals|readings)
some of the fine readings, the best, the least sick,
readings or recitals Ive listened to
none of them capture the richness
or diversity, the largenss of a text accompanied
by the augmentations brought on by
the sound (music etc) filtering through,
and being filtered by the meeting of the two.
So then "readers," however one construes them, the readers
must remain invisible?

this idea pulls me and
allures me More.

So levity wins out the day.
Levity and the lambent touch
a light touch of the performance space.


and to work on the voice
, leeks and tonic water,
for the jaw and vowels,
the old exercises.

Like in the old days.
But we will mask the voice with the absence of visible
readers|reciters distracting the audience from the text
and its
event

and after all that.

Do a conventional show!

Fun, madcap, zany!

More anon.



Call the show: the Secret.



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