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ROLE-PLAYING IN SIX TO FIVE
Published online by Cambridge University Press: 11 January 2023
Abstract
This article traces the creative process of six to five, a work for 20 guitarists with a special role for the conductor, premiered by the Royal Conservatoire of Antwerp's guitar ensemble. The piece was commissioned by the author from the American composer Jessie Marino as part of research into the role of the instrumentalised conductor. The article explores the ways in which Marino deployed the conductor to meet her artistic goals, testing at each step the extent to which her utilisation rises to the level of instrumentalisation. Applying political theories offered by, among others, Michael Hardt and Antonio Negri, the article also considers the extent to which Marino deployed the conductor as a tactical leader in both the rehearsal process and the performance of six to five.
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- RESEARCH ARTICLE
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- Copyright © The Author(s), 2023. Published by Cambridge University Press
References
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12 Ibid.
13 Marino has made quite a few pieces for one or more musicians performing while sitting a table, works that are easily transferable from location to location. Examples include Rot Blau (2009), Endless Shrimp (2015) and throw me to you and back again (2018), www.jessiemarino.com/pieces (accessed 24 November 2022).
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15 Ibid.
16 Ibid.
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18 The choreographer Jérôme Bel once said: ‘The first seven minutes of a performance are for free. The audience can accept anything – after this is another problem, then they want what they have paid for – but during those first seven minutes, as choreographer, you have total freedom.’ Quoted in Jonathan Burrows, A Choreographer's Handbook (London: Routledge, 2010), p. 80.
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