weathering

Created by Faye Driscoll

Scenic Design by Jake Margolin and Nick Vaughan
Lighting Design by Amanda K. Ringger
Sound and Music Director: Sophia Brous
Live Sound and Sound Design by Ryan Gamblin
Composition, Field recordings, Sound Design by Guillaume Malaret
Costume Design by Karen Boyer
Dramaturgy: Dages Juvelier Keates

New York Live Arts Theater

Collaborating with Driscoll, Music/Sound Director Sophia Brous, and Composer/Field Recordist/Sound Designer Guillaume Malaret, we crafted a sound journey through the duration of the work, manipulating, amplifying, splicing, and erupting both live vocal work from the performers, live resonances of the room, and a full-length field recording score by Malaret. Synchronicity of live reinforcement and manipulation with a pre-existing score of varying natural and unnatural sound emphasized the cycles, developments, and interconnectivities of the performers, audience, and the spaces between and within them.

“Faye Driscoll’s newest work Weathering is a multi-sensory flesh sculpture made of bodies, sounds, scents, liquids and objects. Ten people (dancers/singers/crew) enact a glacially morphing tableau vivant on a mobile raft-like stage surging through the Anthropocene. Their voices generate a score that crescendos and resonates as they clutch, careen and cleave, in a space too small to contain them, spilling off the edges. The audience embanks the performers, close enough to smell the sweat and feel the steam of the central, spiraling scenes. The symphonically active, luminously living work is a breathing, leaking, choreography of micro events within a momentum thrusting from just beyond the perceivable. Driscoll and her team of collaborators ask: How do we feel the impact of events moving through us which are so much larger? Yet are animating and activating our bodies all the time? How do we get closer to the impact? Can we slow down enough to feel the dust, hurt, howl, absence, spill, plume?”

“an enthralling, epically adventurous work” — The New York Times

“the breath-stealing slow pace and the score – a symphony of the performer’s breaths…  makes the whole thing feel like the hiss of the universe’s clock” - Amit Noy, Bomb Magazine

“At the moment where the build-up momentum reaches the apex, turning those weather bodies all parts of an apocalyptic orgasm, [the soundscape] echoes Yoko Ono’s Plastic Ono Band (1970) experimental noise music” - Amilton De Azevedo, Ruína Acesa