Discovering the Authentic Synchronicity: when the rhythm, the gesture, and the character blend naturally and create an organic intermedial environment, working in which makes us both artistically and humanly content; this process then evokes a geniune multi-artistic dialogue. (Examples: Énigme Op.52 No.2 and Poème Languide Op.52 No.3 + Score)
The perception and sense of time for me as a musician, expands through the work in different modalities, through the increased density of the content, when Lea and I are working together. I find it necessary to take more time during particular moments of the piece in order to explore and respond to what happens artistically between us. Allowing myself this freedom, this different new sense of rubato in Scriabin, to be influenced by Lea has proven a crucial and fruitful aspect of this project and has opened new pianistic qualities for myself.
(Example: Alexander Scriabin Guirlandes, Op.73, No.1, Excerpt)
Note on the Diagram: it displays various categories of the aspects explored within the main triangle of the agencies during the research sessions: the composer (Alexander Scriabin, viewed through the scores of his works), the pianist (interpreting the works, and the dancer (improvising on the music as she was hearing it). The pianist and the dancer had an unpredictable influence on each other during the live sessions, marked as 'cross-influence', which was largely the cause of the explored phenomena and personal sensations observed. These were placed in five different categories: the 'positive' (or rather useful, on the top left), the 'negative' (or rather useless, on the top right), the 'challenging' (on the bottom left), and the 'unresolved' (on the bottom right). The tension and release were intentionally placed in the center, representing a dichotomy of their own, as they were in fact at the core of the process. The diagram also lists devices used to evaluate the artistic outcomes through the prism of the time and space. The large list on the bottom center outlines the findings and outcomes that were derived from the research sessions and has been influencing our subsequent work.
Blocking pieces from different opus numbers into groups with similar characters, such as the pieces with languid character ("Danse languide", "Poème [avec langueur]", and "Poème languide") and the flying pieces ("Poème ailé", "Énigme", and "Étrangeté"). This has allowed Lea to develop a cohesive movement language that in turn has impacted my response-ability on a substantially more profound level and created a genuine intermedial synthesis.
Allowing for the Aesthetic of Chance and Spontaneity to be part of the interpretation welcomes the unexpected, determines the “HOW-ness?”, and expands the content through the movement in order to give it a chance to unfold: certain pieces have been extended by Lea, even after the indication in the score that the piece has ended. This was possible due to the initial openness to unpredictable outcomes, which are traditionally considered taboo in classical music if they happen to be of such a significant extent, as well as due to the unverbalizable bodily/gestural language/system, as the primary way in which we know and perceive the world and each other, and which we have derived in the process of our collaborative work. (Example: Alexander Scriabin Étrangeté, Op.63, No.2, Excerpt)
"The timeless instability of these closing chords is emphasised by being spread wide across the keyboard in an enormous arpeggiando" writes Hugh MacDonald about "Désir", Op.57 No.1, however the same principle applies to the "Guirlandes", Op.73 No.1 and in both pieces my timing of the last chord has been substantially influenced (if not, in fact, truly determined) by Lea (examples on the left and on the right).
Below I am including another video example, "Étrangeté", Op.63 No.2, to demonstrate how we both used the gesture, the time, the space, and a spontaneous reaction to each other's artistic decisions to create and structure a cohesive intermedial performance.
Conclusions
While this research delves into intriguing interdisciplinary collaborations and their impact on artistic expression, it leaves some questions unanswered. The extent to which these collaborations truly push the boundaries of artistic tradition and redefine creative practice warrants further exploration. Additionally, a deeper analysis of the challenges and limitations faced within these collaborations would provide valuable insights into the complexities of merging diverse art forms. Furthermore, considering the subjective nature of artistic interpretation, a critical examination of how personal biases and perspectives influence the outcomes of such collaborations would enrich the discourse surrounding this research.
After this case study, however, my understanding of form and the passage of time as a classical pianist expanded, opening doors to new perspectives and interpretations. My treatment of the color and tone of the sound has acquired new qualities that I may have never found without working with the dancer, who actively partakes in the process of co-creating the work with me. The audience was present during this project’s live performance that has taken place in Theater in the Palais in Graz, Austria, on October 8, 2022, several months after the tryout sessions took place.
Among the outcomes I have derived during my research process, I claim that achieving an Intermedial Dialogue is not only feasible but also highly beneficial when individuals consciously engage in active listening, keen observation, and mutual sensing within an environment characterized by utmost respect and a genuine willingness to communicate and interact both on a professional and personal level. This collaborative approach, when applied to the realm of artistic expression, unveils a myriad of subtle yet discernible changes that become apparent through a thorough comparison of recordings and sensations between solo performances and crossdisciplinary renditions.
It is a transformative experience to shift one's perception of the score from considering it a rigid framework that imposes limiting boundaries to a dynamic foundation that offers boundless freedom of expression. This newfound perspective allows artists to explore uncharted territories and push the boundaries of their creativity without tension and fear to break a ‘conventional tradition’ that is often considered a taboo in the classical music discipline. The combination of artistic exchange and personal imagery, when multiplied by the unique perspective of each individual artist, leads to a profound shift in mindset. In this state, all the senses are fully engaged, processing a wealth of information and responding immediately to the artistic stimuli present in the environment.
In my case the crossdisciplinary context serves as a catalyst for expanding my understanding of form and the passage of time, as a classical musician. This setting opens doors to new perspectives and novel interpretations, enriching my artistic journey as a performer and a researcher. The presence of physical space, even when accompanied by minimal personal movement, takes on a new significance as I visually, audibly, and mentally perceive the dancer in their element, while working in the same space. This heightened awareness enhances my kinesthetic sensations, reshaping the hierarchy of factors that influence my interpretation of the music. It is through this multidimensional perception that the true essence of the artistic communication is unlocked.
Recognizing gesture as a powerful means of communication not only adds depth to artistic expression but also has a profound impact on interpersonal decision-making. The understanding and interpretation of subtle gestures becomes integral in creating a cohesive and harmonious artistic dialogue. By embracing the power of gesture, artists can transcend the boundaries of their respective disciplines and achieve a level of artistic synergy that is truly transformative.
Through my own artistic work, I wholeheartedly support the argument that artistic interpretation thrives in crossdisciplinary settings when every participant genuinely embraces the opportunity of the artistic exchange. The integration of synesthetic multi-sensory perception generates profound effects on interpretation, breathing new life into artistic endeavors. It is within the multi-, inter-, trans-, or cross-disciplinary contexts that the true power of artistic expression is unleashed, creating a tapestry of creativity and innovation that transcends traditional boundaries.
In conclusion, achieving an intermedial dialogue requires a commitment to active engagement, open-mindedness, and a deep appreciation for the power of artistic collaboration. By embracing the transformative potential of this approach, artists can unlock new realms of creativity and understanding, ultimately redefining the boundaries versus possibilities of their disciplines and goals. This very case study might be helpful to performing artists, who are looking to expand the boundaries of a classical concert, dance show, or a play. It demonstrates a live reaction and readiness for an interpersonal artistic exchange, as opposed to setting solid scripts, planning and rehearsing every single step of the project precisely. My artistic goal is to demonstrate with my own example that crossdisciplinary collaborations bear a crucial importance in one’s development as creative. I wholeheartedly believe that a requirement of an inter- cross- transdisciplinary study should become part of any performing arts degree curriculum.
Reconsidering the role of the Space for a classical pianist: due to working with a dancer I realized that following her mentally and tracking her spatial presence made me able to sense the physical area differently: I was aware of the distance and the air between us – visually, audibly, and kinesthetically. Denis Smalley argues that "time acts in service of space", however our research has demonstrated that it also works vice versa and the space may as well act in service of time.
Exploration of the Micro-Movement in relation to the Distance: when working closely, the subtle gestures influence subtle nuances of the musical interpretation and inspire to focus more attentively on the micro-details of such factors as sonority, resonance, attack, takeoff, and the degree of pedaling, in addition to the entire temporal impact.
(Examples: Alexander Scriabin Danse Languide, Op.51 No.4, Excerpt; Nuances Op.56 No.2)
Gesture and breath as a means of communication - deciding when to continue after a rest or a fermata – as "[…] movement involves temporality of space. Movement is not only spatial but also spatiotemporal."
(Example: Alexander Scriabin Masque, Op.63 No.1, Excerpt)
