Pseudo Soundtracks: The Myth of Inventive Audiovision in Contemporary Cinema
Dutch composer Michel van der Aa was one of the two keynote speakers at the 2007 Totally Huge New Music Festival Conference. Van der Aa’s pieces typically feature pre-recorded soundtracks or video projections which double the live performers, creating a dynamic interaction between the tragic, harried, on-stage characters, and their technologised others. This paper examines this aspect of the artist’s work through the prism of operatic and theatrical dramaturgy, dealing particularly with the varied legacies of dramaturgical Modernism, playwright Samuel Beckett, Postmodernist aesthetics, and Freud’s model of the fetish. Through Van der Aa’s use of technological doubles of the players and other performative devices, the artist dramatises the fragmentation of the human subject at the end of Modernism in music, culture and performance, producing a fetishistic rendering of the subject and his or her technological prostheses within the composer’s music and drama.
Marshall, J. W.
Pseudo Soundtracks: The Myth of Inventive Audiovision in Contemporary Cinema.
Sound Scripts, 2(1).
Retrieved from https://ro.ecu.edu.au/soundscripts/vol2/iss1/6