SYMPHONY #2 – Online Participatory Performance Art

 

Concept and Performance by Sandro Masai

Performed on the 14th of May 2017 at 15:00 UTC on the international Online Performance Art Festival

SYMPHONY #2 is an experimental performance using the internet as the site-specific for audiences interaction with the performer in real time – an improvisation.

The performer offers his moving body as the musical score for audience interaction in real time. He is the conductor and the audience the symphony. The performer wants to inspire the audience to guess the music and play or sing with it. It is a online performance, so everyone can participate from anywhere in the world to form this symphony like experience.

Hopefully, the sound pieces from each of the participants will find each other somewhere and produce harmony. Maybe the sounds will meet far from the participants, maybe you can listen to your neighbour playing or singing with us, maybe you will record your own participation and share with us online too.

 

Backstage:

Here you you can find my inspirations and design process of this performance.

 

For two years, 2004 and 2005, I was a singer in the choir Comunidade Coral Luther King in São Paulo. I was always impressed with the skills and ‘dance’ of the conductors, and how they could control the music with their dance, not the other way around. Sometimes I would wish I was the conductor and my dance could control the music. This performance takes me back to those moments that serve to me as inspirations, but now I challenge the spectators to imagine the music I am conducting/dancing in the performance. I am not playing any specific musical score though, I am interested to catch the spirit of the time, improvising the feeling of the moment, translating emotions to movement.

In order to create this performance, I have watched several online videos of music conductors and collected some studies of movements for conducting music. Below you can see some of the images that serve as inspiration for my movements.

 

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