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Hi All, I’m directing and performing in a dynamic new Shakuhachi Performance Art theater piece, Love Cripple. The work uses voice, movement and PVC shakuhachi making and playing to explore the notion of desire.
GREAT JONES VARIATIONS
The Ellen Stewart Theatre
May 27-30
Thursday - Saturday at 7:30pm & Sunday at 2:30pm
Tickets $20
purchase tickets online - http://www.lamama.org
Or, Box Office
74A East 4th Street, between 2nd Avenue & The Bowery
(212) 475-7710
Business Hours: Monday - Sunday Noon - 5:00pm
Five original pieces inspired by Ellen Stewart’s
work with the Great Jones Repertory Company
Tower of Babel Directed by George Drance, An Appointment in Time Directed by Ozzie Rodriguez, Narcissus Directed by Elizabeth Swados The House of Atreus: 2:00 AM Directed by Zishan Ugurl, Love Cripple Directed by Perry Yung
See you there!
- Perry
"...Bamboo may be replaced by PVC; old customs may yield to new. But with their own special alchemy, the members of Slant preserve the past even as they transform it." - New York Times"
"It is the wiry Perry Yung who finally ushers some magic onto the stage. In a children's show sketch, he creates an ancient shakuhachi flute onstage. Traditionally carved out of bamboo and punctured with a hot stick, this flute is created out of "local" materials: a plastic pipe and a power drill. In the creation of this instrument, Yung captures the history of his heritage and yanks it into a contemporary experience--a swirl of ancient Chinese flutes reverberating with the city subway's warm wind. It is beautiful." - New York Theater Reveiw
Last edited by Yungflutes (2010-05-20 10:54:43)
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That sounds fun, Perry. Toi,toi.
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Dun Romin wrote:
That sounds fun, Perry. Toi,toi.
Hi Dun, I'm having a lot of fun!
For my New York City friends, there are two more performances. Those who need a comp can get in free by saying "Go Great Jones" at the box office (you can combine this with a donation).
The first review is in: NYTheater.com, Martin Denton May 27, 2010
Great Jones Variations is a 75-minute program of original short theatre works of various types that together comprise a thrillingly appropriate homage to Ellen Stewart, the remarkable woman who founded La MaMa E.T.C. and co-founded the Great Jones Repertory Company (with Elizabeth Swados and Andrei Serban). In these five pieces, artists of every stripe who consider themselves “MaMa’s babies” give back in the way they and she understand best, by creating adventurous new works that defy categorization but all speak resoundingly from the heart.
“Love Cripple…filled with startling images, perhaps none so thrilling as Yung’s creation of a musical instrument right before our eyes.”
Read the entire review here: http://www.nytheatre.com/nytheatre/show … =grea10326
See you there!
-Perry
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Hi Perry, That reads as a great review oneliner. How did the PVC-shakuhachi making come out on stage? (How can one follow the small, precise movements of making in the back of the theater?) How do you make theater of building a flute? Had it a fine sound, did you have time to tune it well?
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Perry, I think you should bring it to San Francisco! I'll supply the seaweed!
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Dun Romin wrote:
Hi Perry, That reads as a great review one liner. How did the PVC-shakuhachi making come out on stage? (How can one follow the small, precise movements of making in the back of the theater?)
Hi Dun, The flutes came out pretty much the same as I have a method, and unlike bamboo PVC is completely predictable. My movements were choreographed to be quite big for the stage, unlike the making in my shop when there is no audience.
How do you make theater of building a flute?
There are many ways to make theater, just as there are many ways to play the shakuhachi. Conventional theater usually requires a written play with a dramatic arc, a director, and at least one actor. The pinnacle of this is form in the West would be a Shakespeare production. The kind of work I do springs from the American advante garde theater of the 1960's in New York City. This kind of work breaks down all conventions and challenges the audience. My work uses imagery and the interaction of physical movement and sound to tell a story. It's more like Japanese Butoh performance than conventional Western theater. Basically, instead of having a play to follow, we follow one another's moods to mine drama. Sorry I can't be more clear. It's like Laurie Anderson once said - talking about music is like dancing about architecture.
Had it a fine sound, did you have time to tune it well?
I tune with my lips and ears as I play. You can see this video on how the flutes sounded. The interns wanted to try the flutes so I gave them a lesson on the "props". http://www.yungflutes.com
Mujitsu wrote:
Perry, I think you should bring it to San Francisco! I'll supply the seaweed!
I'm going to be in SF in late July. I know movement people there but do you know a percussionist who can underscore drama? If you can find a venue, we can do something!
Kohl wrote:
See you tomorrow. I'm stoked.
Very cool!
.
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Yungflutes wrote:
Mujitsu wrote:
Perry, I think you should bring it to San Francisco! I'll supply the seaweed!
I'm going to be in SF in late July. I know movement people there but do you know a percussionist who can underscore drama? If you can find a venue, we can do something!
How about gongs?
http://www.bayimproviser.com/artistdeta … tist_id=48
http://www.myspace.com/karenstackpole
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Mujitsu wrote:
Yungflutes wrote:
Mujitsu wrote:
Perry, I think you should bring it to San Francisco! I'll supply the seaweed!
I'm going to be in SF in late July. I know movement people there but do you know a percussionist who can underscore drama? If you can find a venue, we can do something!
How about gongs?
http://www.bayimproviser.com/artistdeta … tist_id=48
http://www.myspace.com/karenstackpole
Karen looks like a perfect candidate for collaboration. Let's talk directly!
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Karen is great! I can warmly recommend her!
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