: Theatricality

Mirrors Beams

Installation with performance
Mirrors Beam is a mirror and light installation by Francis Bowman for which I live-performed and created the music.



Mirrors Beam
by Francis Bowman
with sound and performance by Sonia Paço-Rocchia

The Shunt Lounge, London, April 2010

The Shunt Lounge is a performance venue situated in the victorian brick tunnels, which form the foundation of London Bridge Station. It is about to be closed to make way for the foundations of London’s latest tallest building ‘The Shard’ currently under construction. Street level above is already a building site.

The work is exhibited on the 2nd, 3rd and 9th, 10th April. This is during Holy Week, and just after the spring equinox.

It is a work about the beauty of light on the body, and in dark places.
Live performance and voice following the rhythm of the light.

Thumbnail photo by Ludovic des Cognets

I Became Luminous

experimental multimedia performance

I Became Luminous is a experimental play produced by The Olga & Clarence Memorial Theatre Company for which I have been commissioned to compose the music.

The music is really important and present in this play. I perform solo, live with bassoon, voice, glockenspiel, melodica and live electronics.


by Ieva Strazdina and Jeffrey Gordon Baker, The Olga & Clarence Memorial Theatre
text by Antonin Artaud, St Augustine, Guy Debord, Jean-Jacques Rousseau,
Arthur Rimbaud and Patti Smith
music and sound by Sonia Paço-Rocchia

performed by Jeffrey Gordon Baker, Ieva Strazdina and Sonia Paço-Rocchia
produced by Else Prünster
costume design by Anita Gatere
camera by Andrew Crowe
montage by Ana María Reyes

performed in June 2011, in London

Souvenirs

for bass flute and live electronics
April 2010

This is a piece that will eventually be part of a Multimedia Instrumental Opera, for 18 instruments and live electronics, video, dance and live art.

In that Instrumental Opera, the bass flute will represent the memories.

This piece contains a lot of choices that the player has to take, some semi improvised and some controlled improvisation.

I composed this piece on the Isle of Skye, Scotland, during a composition retreat of Rarescale.

Susan Geaney kindly premièred it, in Skye, something like 30 hours after I finished the composition. You can't have more fresh.

As we can see, a Nitendo Wii Remote is strapped on the foot joint of the bass flute and it is the tilt, the angle of the flute that is provoking the Max/MSP patch. For the opera something more discreet will be used.

Score

Sticky Sticky Pathways

Sticky Sticky Pathways was for one week at The Shunt, in London (7 performances)
As it is a space specific work it is quite different from the premiere last March.

Sticky Sticky Pathways
Contemporary dance/movement & music improvisation/live art/sound art performance and installation.

Choreographer’s note:
Sticky Pathways is an unfolding labyrinth of rambling dimensions and slanted reflections where people exist on the cusp of dream and reality.


Choreography - Lucy Ridley
Music Performer - Sonia Paço-Rocchia (bassoon, treble recorder, voice, live electronics)
Costumes - Chantal Francis
Dancers/Performers - Carly Blackburn, Lauren Bridle, Maxine Calleja, Chantal Francis, Aislinn Grech, Emelia Lazarou, Lucy Ridley


(photos, Andrew Crowe and Isaak Mavridis, filmed by Sandra Kolar)

























Sticky Pathways was as well an installation that was including a 8 channels music track, a lot of solo tape and a frame with some headphones. Here three extracts of the 45 minutes long music track.

(audio) solo tape
(audio) recorder
(audio) bassoon



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