<div dir="ltr"><font face="georgia, serif"><b>New podcast: CASCANDO. Variations for
another dramatic piece, a reintrepretation of Samuel Beckett's play
"Cascando", by Joan Morey </b><br>
<br>Link: <a href="http://rwm.macba.cat/en/specials/samuel_beckett_joan_morey/capsula" target="_blank">http://rwm.macba.cat/en/specials/samuel_beckett_joan_morey/capsula</a></font><div><font face="georgia, serif">Liner notes: <a href="http://rwm.macba.cat/uploads/20130718/Cascando_eng.pdf" target="_blank">http://rwm.macba.cat/uploads/20130718/Cascando_eng.pdf</a></font></div>
<div><font face="georgia, serif"><br>'Cascando' is a radio piece for
music and voice, in which three characters bring listeners up against
the basic mechanisms of radio. One is the Opener (L'Oeuverer), who
directs the action from a mixing desk in a neutrals studio space;
another is the Voice (La Voix), which comes to us from an unknown space
and could perhaps be the subconscious mind or the thoughts of the
Opener. The third character is the Music. Word, music and silence are
thus employed as the basic units of expression of the language of radio
(and, by extension, the language of art), which are juxtaposed or
overlap in this piece but do not interact.<br>
<br>When Joan Morey uses Cascando to produce a new variation he not only
assumes the structural complexity of the original work but also gives
it a twist: Cascando. Variations for another dramatic piece welcomes the
exhaustive instructionsmarked on Beckett’s text and requires that the
same actor performs the two speaking parts. The character played by
music, on the other hand, is inserted as a cliché, further hindering the
role of the artist as creator, since here he executes a type of
mannered patchwork.<br>
<br>The radio play Cascando. Variations for another dramatic piece was
presented inside MACBA as a live performance on 23 February 2013, within
the programme Experience MACBA. The sound filled the atrium and was
accompanied by a text projection with Catalan subtitles. Two actors
performed the sound piece in a theatrical form and choreographed for all
three floors: the sound booth used by the interpreter of L'Oeuverer and
La Voix was sited on the top floor (offering a peripheral vision of the
performer) and the audience was conducted by an actress/hostess
situated at the central point of the ramp in order to get a general
overview and the ideal position for listening to the work.</font></div>
<div><font face="georgia, serif"><br></font></div><div><font face="georgia, serif">Enjoy!</font></div><div><font face="georgia, serif"><br></font></div></div>