CHAPTER 5.4.12 - 5.4.15

EXAMPLE 5.4.12. Sound: Excerpt from Audio Paper on Arrival Cities: Växjö

There are some techniques in Jörgen’s dramatic writing that are recurring. … works that are relational, as Hamlet, and those that are non-relational, Indy500. … we use both. There are always relations and conflicts and consequences, but they can be between different elements!!! It can be between actors (Hamlet), but also between a group of actors and for example musicians, where the actors are like one person. Or between persons and scenic elements as light or video. Or sound.

Another technique is identity shifts, an actor change person in the text (but continue in the same situation in the room!) In that way the text can work with superimpositions, and the intertextuality can be staged in interesting ways.

In Arrival Cities Växjö is this interesting because Jörgen takes this further than before. Unsure first how I should approach this but understood after a discussion in July. It is in Part 2 primarily, the text is in situation, between two persons it seems. But these two persons are switched continuously between the three actors. With this rapid switching we can talk about both identity shifts and at the same time relational and non-relational relationships, the rapid switching creates this.

It is important to think of the texts here as situated, for example No Wait! Influences how the music is written. But, more or less the whole structure in Part 2 is solely built on musical structures.

(Diary 29 July 2013)

EXAMPLE 5.4.13. Video: Transition between part II and III

EXAMPLE 5.4.14. Video: Second section with pre-recorded and live videos

EXAMPLE 5.4.15. Video: First section with pre-recorded and live videos,

p. 14-19, bar 76-107.