Une oreille pour entendre même mal ces bribes d’un antique cafouillis (from the manuscripts of Heiner Müller’s Hamletmachine)
Performed by Christina Clar, Yves Arcaix, Silvia Platzer, David Neaud
“We would like to explore this bilingual German/French version of the Hamletmachine’s manuscripts, considering first, the written pages as a musical score bringing into play both the set of typographical signs and the actual text. In this imaginary musical score, we would like to explore the writing process of the work, including its digressions, stammerings and sporatic thoughts. In summary, we would like it to be heard.” (Christina Clar & Yves Arcaix)
Some long springs hang from the ceiling, like a giant spider’s web or an electric machine from an old age. Each one links a speaker (at the bottom) to a contact microphone (at the top), making between them a feedback. The sound comes from the vibration, which goes from the speaker to the microphone, through the spring. Although the movement exists really, its amplitude is too small to be seen, so the device seems to be static and the sound comes apparently from nowhere. We’re in a factory, without any worker. Machines are switched off and we can hear their resonance, like an echo of the power expended to curve the metal. A frequency wind around the empty space, while others follow lines, then interfere and clink together, moving big sound mass, like a rocking game: the iron song.