Theatre Project Performances at High Zero 2003
Zero poems, McShea 2003
This is some writing I did while listening to the festival. A couple of the pieces were written later from lo-fi recordings I made when I was too distracted to write. Three of them were in the last Shattered Wig Review.
When I was typing all of this up, I wrote out a few of the characteristics of this music writing I've done that could be construed as problems:
1. I rarely comment on the music of individual players. We're used to music writing giving credit where credit is due, especially in the jazz tradition. In the oft-hailed tradition of Baltimore, that of non-competition and what that affords us, I ask the players forgiveness for my lack of individual attributions.
2. Because the writings were made live, during performances, it seemed beside the point to do much re-writing. The players don't get a chance to change their sounds, and changing my words would be in response to something other than the music, so I mostly didn't. What I did do was drop words I simply stumbled around on to no evocative effect.
3. It begins to feel like an exquisite corpse, writing from music. If I passed these words back to the musicians to play, it would not produce the same set, but something else again. I like to think that it would be more fun for them to play from my poetic approximations than from that thing I'm not doing called "music writing."