Instabile Tempus
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The main sources of inspirational impulse are based on current events and individual and collective reflection on the world and the 'awareness' of 'life' are essential.
In the process of reflection and awareness, the tripartite division of 'time' emerges and the need of delimitate each of these parts so that consciously one can avoid the constant 'disorderly pursuit' by our anxieties and temporal 'amalgam' - the past (remembrance), the present (agitation) and the future (questioning).
A question is asked in order to decipher the most effective individual attitude towards the temporal phenomenon and to establish appropriate levels of importance so that, during the course of life, one feels the 'capacity' to face daily events.
Along with the title, Instabile Tempus (Uncertain Time), there is a quote (four sentences) that is introduced in the course of the musical discourse through recorded voices ('human chorus without body'), not only pointing out the climax with three phrases, namely Tempus Praeteritum Nihil (the Past 'is' nothing), Futurum Incertum (the Future 'is' fickle), Praesens Instabile (the Present 'is' inconstant), but also at the end of the piece with Cave Ne Perdas Hoc advice tuum (Attention, so you don't waste this moment that is only yours).
It is also to refer the 'murmur' ('uncertain collective') coming from the vocal 'sounds' of the instrumentalists, characterized by the mixture of the 'real sound' sung and the 'breath', representing these (instrumentalists) not only the role of virtuosos (instrument) but also 'interventional characters'. They establish the connection and 'pass' the testimony to the aforementioned 'bodyless human choir'.
This 'choir' is represented by a set of 'props / suits' of men and women who occupy a certain space in the concert place, and whose visual influence comes from a collection of photographic images where 'suits' are present in shop windows without mannequins but placed on supports (hangers).
Thought, reflection, awareness, the influence of visual elements and their use, either as sources of inspirational impulse for the development of ideas or as interventional facets in the piece and that 'co-inhabit' in a cohesive and total interactive discourse and also the multifaceted role of the instrumentalists, the intervention of recorded voices, the scenery / props, the lighting, include this creation in the transversal multi art attitude.
Mic.pt
Pages - 92
