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Flooding the concrte: Clastoclysm and the notion of the continuum as a conceptual and musical basis for a postdramatic music-theatre performance

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Abstract:

This article explores issues that pertain to the concept of music-theatre as music through a discussion of the performance Clastoclysm. Using Lvi-Strauss' notion of the affinity between the domains of music and myth as a point of departure, the article presents the ways in which the performance makes use of a musically-derived conceptual model, which is applied to mythic text in a way that evades the boundaries of structuralism. The model is based on the concept of the continuum, derived from musique concrte, and its application will be explored through a discussion of the process of the composition of the performance score, as well as the process of performance. In the last section of the article we will return to the original issue that informed our discussion of the musical model, and will discuss how the concept of the continuum was used to include in the performance a metalingual function as a performed clash between tonal music and musique concrte.

Keywords: Clastoclysm; continuum; music theatre; musique concrte; postdramatic; theatre as music

Document Type: Research Article

DOI: https://doi.org/10.1386/smt.2.1.83_1

Affiliations: University of Leeds.

Publication date: 2008-06-05

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  • Studies in Musical Theatre is a refereed journal which considers areas of live performance that use vocal and instrumental music in conjunction with theatrical performance as a principal part of their expressive language.
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