Mujitsu and Tairaku's Shakuhachi BBQ

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

Perry, I think you should bring it to San Francisco! I'll supply the seaweed!

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!
.

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!