Appendix 1: The Flowering Desert Creative Process
AP 1.1 Cycle 1: Jan-April 2020
AP 1.2 Cycle 1: Short Story - The Flowering Desert
AP 1.3 Cycle 1: Online Workshops and Outcomes April 2020-February 2021
AP 1.4 Cycle 1: Exploration through Performance and Film: March - June 2021
AP 1.5 Cycle 2: Leading to the Performances in May 2022
Appendix 1 - The Flowering Desert Creative Process
In this appendix I have chosen materials, reflections or transcriptions from key pieces of work, or workshops, that were carried out during the creative and performative process of developing the opera The Flowering Desert.
AP 1.3 Cycle 1: Online workshops and outcomes April 2020-February 2021
I completed the first draft of the libretto in the second half of April 2020. Due to COVID-19 the process of working to realise the text was delayed. This gave me some time to make tweaks and update the text in the meantime. Once I received feedback it allowed me to work on more fine tuning. Two of my supervisors Aleksandar and Nicole gave me feedback over the formatting of the text and the stage directions. They suggested that as I was clearly writing directions for Dani and Tadas, so I should now adapt these so that it would be clear to anyone reading the piece, what I wanted to convey. I rewrote the libretto several times after gathering feedback from Dani and Tadas as well.
Throughout the following sections the reader will find notes from the workshops and see elements in bold which are directly visible in the artefacts of cycle 1, or the performances of cycle 2 and 3.
AP 1.3.a 30/04/2020
During this first workshop we discussed what sort of material to use for each character, based on Dani’s study created from the data. We discussed their musical characteristics in relation to the text and science.
Before this workshop I researched some possible uses of extended vocal techniques. Particularly I was making use of Michael Edgerton’s textbook on 21st Century Voice (2004). I recorded several examples of myself using multiple techniques which could be experimented with for the voice of the Measurer and sent these to Dani prior to our meeting.
This workshop was extremely useful in generating a collaborative understanding of how the music will be structured for each character and scene. We decided on the tonality and techniques which should be used in the composition of the music for The Measurer, Xoe and the Mother Star. This included testing some of the ideas during the session. This also led to feedback on the libretto as Dani was able to request some extra dialogue in sections where the Mother Star would be speaking and not singing.
Some key decisions are listed below.
- We will create videos for each character making use of the introductory arias for each character. These will be watched by the audience prior to attending the show. We could also add an epilogue for what happens to Xoe and Pantele after the collision.
- There will be an overture with an introduction to each character. They can just use the opening lines from their introductory arias.
- Xoe will be a female, character soprano. It is a light hearted character. Maybe a bit like a funky granny. It will use the material from planets h and b as it is travelling throughout the whole system.
- The Star will not be lyrical and will explore many different vocal and sonic techniques. It will be an SATB chorus. It has 3 chords made from the alignment material. It will not need to have melody as it is a static object. It will make use of rhythmic recitation. During the Brutal mother duet it will speak the words and sing the numbers. The composition will make use of hocketing to create an interference and also to replicate the bombardment.
- Pantele could be two singers or one. It will be lyrical.
- The Measurer will make use of ASRM sounds, whispers, sprechgesang, muffled words (cupping the hand over the mouth) and more. They will use a microphone and move close or far away from it depending on the vocal technique in use. This will all give the effect of being inside the mind of The Measurer. At the moments where The Measurer is clearly interacting with the outside world the text will be fully sung.
AP 1.3.b. 17/05/2020
During this workshop we discussed the music for Xoe, Pantele, the way we are collaborating and some ideas about the Mother Star chorus. The key ideas that came out of this discussion are listed below. Prior to the discussion on the material for Xoe Dani voiced some initial concerns about how to make sure the piece feels unified despite all the different harmonies and melodies created through the data. Part of the discussion was also used up on ensuring the music will work cohesively for all characters.
- During the discussion on the material for Xoe we came up with a good solution to this problem. I suggested that Dani could use the material from all the planets in Xoe’s music as Xoe is passing by all of them at different points. The position of Xoe in the TRAPPIST system at different parts of the story could be reflected in which material is being used musically at that point. Dani had already decided that Xoe should also always make use of planet b (as a representation of Mercury/Hermes) and planet h (as the outermost point of the system). In this way Xoe would be going on a musical journey which would culminate in the climactic moment where Xoe and Pantele collide. Up until this point Xoe’s music would never be mixed with planet e (Pantele’s) music. This will give more journey to the character of Xoe, as well as making the other characters appear more static, thus reinforcing the entrapped nature of Pantele within the system.
- Next we discussed how to make the audience aware of these different themes. We decided that at the start of the piece (the introduction from each character), and throughout the overture, the audience will be shown representations of each character along with their musical theme. This will signpost each character’s music and so allow the audience to follow the whole piece more fluidly.
- We then turned our focus to Pantele’s music. For this Dani had decided to use the music developed for planet e. Initially Dani had some fears that there might not be enough material to generate a score for the whole of the character's parts. However upon further inspection of his study he realised that there are in fact 2 chords and 2 inversions (4 chords in total). Of these as well there are both major and minor. This gives the perfect accompaniment for Pantele’s two halves. We both felt that the darker side should be associated with the major chord, as this side is more open and has a broader, brighter experience of the universe. The light side will take the minor chord as this side is constrained to always face the star and as such is almost a prisoner of the star. The music will move through these chords and inversions showing Pantele’s internal psychological journey and growth, as opposed to Xoe’s physical journey across the system. Only at the point of trauma or anagnorisis, where the collision occurs, will Pantele’s harmonic material be combined with Xoe’s, signalling a rebirth.
- After this we discussed the collaboration itself and the impact that these workshops were having upon the piece. Both Dani and I felt that in comparison to our previous experiences working together, this was creating a joint vision for the work. This would be valuable when it came to the actual production as we would both understand each other’s poetic intentions.
- Finally, we had a quick discussion on the music for the Mother Star’s introduction. In the initial draft I had suggested opening the chorus with a hum of the word M-Dwarf. Dani felt however that he wanted to open with some huge chords (like a Star Wars opening). We discussed the use of speaking and how this could be done at the same time as the chords to create a cacophony of sound. This would enable the audience to still grasp the sensation of filtering through until the text becomes audible and it is clear what the star is saying.
AP 1.3.c 30/05/2020
This workshop was focused on working on the Measurer’s opening aria, and practising and understanding all the sounds that Dani was imagining. Through this Dani was able to alter some of the score and change some of the sounds. We also discussed which visuals might be used and how they are making use of the art-science interface in their work. Key points are listed below:
- Initially we had a long discussion about how the work we are doing is not purely experimental. It doesn’t just take the data or science and translate it directly into text and music, but uses the science as a structure within which to make choices. In this respect there is a point at which it stops being just a representation of the science and becomes a more creative endeavour. The science is merely one of the tools being used to get to the final work. We also discussed out the science provides us with a nice joint end goal; however it is the personal and creative choices which will define how we get there.
- Many of the sounds I had imagined were not exactly as Dani had imagined, however this allowed Dani to hear some more sounds which he liked and then change various parts of the vocal line to include these. This was invaluable for me as well to understand what Dani really wanted to hear.
- We discussed the reasoning behind the characterisation of the Measurer in Sprechstimme and whisper. Dani was making a comparison to Schoenberg’s choices of characterisation in Moses and Aron. The Measurer here doesn’t sing, and is not operatic, as it is not as abstract as the other characters, however it is also not completely real as it is the voice of inside the mind of the Measurer. So, for this reason it is also not a clear speaking voice.
After these workshops Daniel sent the score for the Overture and I performed/recorded at the beginning of June 2020. We went back and forth a couple of times before Dani sent through his final version of the score at this stage. During this time we also enlisted the help of other musicians to record a first version of the overture. We also had discussions with Tadas Stalyga who put together a film for the workshop using regular and drone footage of a local desert location. We presented this film at the M4C Research Festival in July 2020. Please find this film below.
During this period from August to October we attended several online workshops with myself, Daniel and Tadas, in particular with the focus of developing characterisation of each element of the TRAPPIST-1 system from the story. Initially we had planned to create films for each character. As this period of cycle 1 progressed we took on board Tadas’s suggestion to make one piece of the whole system. This ended up with the creation of The Triple Study (see section 1.3.i). Below are details of the key workshops. In bold you will find elements of the conversation which progressed towards the output of the cycle or the subsequent cycle.
AP 1.3.d 22/09/2020
- Tadas expressed that there needs to be a coherence between the three videos of the three celestial bodies. Then he suggested that this could be done with colours, e.g. that Pantele could be blue because of water. Dani also pointed out that the blue is related to things moving closer (blue shift).
- We discussed the gender of the characters. I explained my views on it being a mostly ‘feminine’ piece, but also still non gendered. The Mother Star is both man and woman, Pantele could also be both man and women, and Xoe is a woman.
- Tadas asked for some more information about the libretto, e.g. what a vocal fry is and what the final segment will sound like. I explained the sounds and also that the final part of the chorus would be spoken – similar to the moment of “Mayakofsky” in Berio’s symphony for 8 voices.
- https://www.youtube.com/watch?v=DQrvB8PJ8CE (The moment I was referring to is in the 3rd movement. It happens at about 20:20 but if you listen from 19:20 you can get a build-up. I have heard more dramatic performances of this particular line but this is just the first one on YouTube. The text there is Beckett.)
- After posting this I also thought that “perhaps I should rewrite this section so there is far more text for the performers to recite. I could also give that a go before next time and see what it’s like working with lots of almost meaningless text like the Beckett stuff here.”
- Tadas responded by suggesting that in the moment of climax there could be a close up of an object – perhaps something that the scientist would dream in that moment. Tadas suggested some imagery of a liquid – for example pomegranate seeds crushed on a white cloth. To show the moment when we discover something and see it clearly.
- When discussing final steps and where to go from here Tadas was thinking about what colours the other characters might be e.g. Pantele as blue, the Star as Orange/Red and Xoe as Brown.
The images Tadas shared with us during rehearsal, as possible representations of Mother Star, are below.
After this workshop I rewrote the Mother Star’s introduction and recorded an example of performance which can be found in section 2.5.f.i.
AP 1.3.e 02/10/2020
During this workshop we discussed how we could present the next three pieces in one whole piece, in order to ensure that the representation of these three celestial bodies has a clear connection.
- Tadas suggested presenting the next three character studies as one whole study. This would help him to visually connect all three objects. The idea would be to repeat the same structure for the shots related to each character e.g. for the Mother Star the figure on the rocky background, for Pantele footage of a person wrapped in a white blanket on a boat in a lake and for Xoe footage of someone in another cloak/blanket with the background of an autumnal forest with falling leaves (connected to age and things ending).
- Tadas posed to Dani the question of whether he is considering the anthropomorphising of the characters in his writing of the music. Dani responded saying that he is in a difficult position as he has to remain faithful to the data for his research, but also needs to find a new complex vision of the work. Dani also posed the question of why not just start working directly on the opera?
- Tadas and I responded saying that the study and cycle is still an important part of us as a team getting to know the process. Dani then changed his mind and thought that if this is a study and not a perfected final piece then actually this would be a good way to proceed from here.
- Another thing Tadas was thinking is that with the Measurer we never see the Measurer themselves, only their point of view, but with the system we see the characters and the objects as the dream of the Measurer seeing these things.
- Dani was thinking in reference to mine and his previous conversation, that this piece could be representative of the genesis of the star, with the other characters interacting on top of this frantic genesis. So we would meet the other characters as they are being created in the system. He suggested that he starts by sending me some material to sing which is randomly generated fast rhythmical singing.
- Tadas then questioned whether the Measurer study which we have already completed would come before or after this section. He wanted to understand how this segment will fit within other sections.
- I responded by saying that it would be possible for me to go away and play with the text, cut it up and put the characters all closer together.
- Dani suggested we think of this a bit like “The Death of Klinghoffer” where there is the chorus of the Palestinians and of the Jews, which then sets us up for the rest of the story to come.
- Tadas suggested that we swap the pieces around so the System comes before the Measurer. This made me feel that this would work better as the System would be calling to the Measurer, and it would make the System the focus of the opera from the start.
- Dani suggested we could even put the voice of the Measurer on top of the music introducing the system. Tadas replied by saying that you have to be careful with film as jumping from character to character looks severe in a way it doesn’t do when it is integrated into text or music.
- I then mentioned the Dora Maar photos again, and how having images collaged removes the sensation of groundedness that the Measurer has – Dani responded that this effect can also be achieved through layering of the music.
- The discussion then moved into a general discussion about how this work is trying to promote the subjectivity of science, and relate it closer to human experience.
After this workshop Dani sent me some music which I recorded. The score and recording can be found below.
AP 1.3.f 12/10/2020
Details from this workshop are below.
- Tadas would represent the opening (as some kind of activity in the universe) through footage of a bonfire. This would be followed by three different wide shots establishing each character. The first is silhouette in the white rock quarry, the second a boat in which Tadas will lie wrapped in a white (symbolic colour of innocence and childhood) blanket, shooting with a drone from above and the third will be Tadas sitting on a stool covered in a fabric with lots of patterns/patches, with a background of an autumnal forest.
- There would also be close ups of personal and scientific items. Tadas decided to arrange to go to the cosmology exhibition in Lithuania to film the astrolabe that they have there. The use of a historical object gives more universality to the piece.
- Dani suggested a personal item could be a travel magazine of Chile. Tadas replied saying that it could be inside a suitcase with personal objects inside it. The sequence would highlight the dream world of the scientist.
- I suggested personal items such as jewellery, photos or books.
- Dani suggested the photo of a baby which prompted me to suggest the photo of the Measurer as a child. Tadas followed this by saying that he has a photo of himself as a child at his grandfather’s funeral. This would show life and death. Dani replied by saying that this would be representative of the Terminator line on the planet.
- I said that I would rearrange the text for this cycle before the next session. The shots that Tadas have set up would work well to be mixed together with a different structure of text.
- I then also suggested thinking about what mood to associate with each image and setting a meeting sooner rather than later to discuss this.
I then showed a small section of my recent recording of Dani’s music.
- Tadas responded positively about the sound of the sun segment. We discussed how that section has an expansive and speckled space-like feeling.
- I discussed working with Alexander for movement and direction at a workshop in the next week. We had a quick discussion of maybe using the microscope images again. Perhaps also doing something with food imagery at the moment when Pantele is getting sustained by the sun. Tadas said he was also thinking of doing something to do with food. Perhaps a bubbling porridge – a bit like a primordial soup.
AP 1.3.g 14/10/2020
Prior to this workshop I had met with designer/director Alexander Kaniewski and described the project and characters to him. I mentioned this to Dani and Tadas during this workshop and we began to discuss some staging elements that remained through to the final production.
- Tadas suggested that the shot of the astrolabe would be an aerial view. There would be some hands coming into the shot from the bottom and manipulating the device. The hand would turn the dial to a certain position and then cut to a wide shot of one of the characters. This could emphasise the science aspect more.
- Dani suggested showing the hands orbiting around the astrolabe so that every time they come from a different angle and also rotate.
- Tadas also said that he would be using the three different fabrics from each wide shot to place under the astrolabe each time we come back to it. This would help us to connect the turning of the astrolabe to the next character being introduced.
- I discussed how a lot of the mythology of creation had a lot to do with egg shaped things. For example an egg shaped locket with a picture inside it. Or also using an Easter egg box with something inside like a piece of jewellery.
- Tadas suggested an addition to the shot of the fire. There would be a clothes line behind the fire with the three cloths of each character from the solar system hanging on it.
- Dani said he was thinking about using a randomizer to create some of the musical material.
- Tadas showed us the Astrolabe online.
- I discussed my meeting with Alexander Kaniewski (director) and described that he was considering structural outfits for the star (with robes), inspiration of “Andy Pandy” for the Pantele character, and using felting to create a mossy, wispy costume for Xoe to replicate the forest floor. Alexander was also thinking of using very slow gestural poses.
- Tadas suggested that Xoe can move in a circle and the star could remain constant.
- I replied that I had recently drawn a plan in which Pantele is static and Xoe is moving to the star and back. The star itself was spread out and rotating, but coming together at some points.
- We then decided to put the Measurer in the audience.
- I mentioned that if we connect the staging and the film then the film and staging can be synchronised in terms of where the focus is within the dome and the space.
- Dani said that he liked that the star might be separated because it means that the singers will have more freedom to not sing in a synchronised way.
- I then suggested that each singer could only be working with one chord to make it easier. Dani replied that the chords could change depending on the scene. Or perhaps the chords could change depending on the passive or active voice of the star.
- Tadas suggested that the characters rotate around the audience/space/measurer. However they would only walk when they sing. So the active character is moving, creating a kind of surround sound experience.
- Dani thought that potentially the star could be singing all the time as part of the background noise.
- Tadas suggested that we use torches to light each character as a simple solution. Each character would carry a light that they could switch on when they sing. Perhaps not even a light but a red globe. I suggested that perhaps the Measurer could be the one with the flash light or the other characters can be using their flashlights to shine on the main character.
- Tadas suggested that the final section of the Measurer could just be spoken. By dropping the music and the singing the human voice of the Measurer would help deflate the tension and identify the audience with the Measurer even more. This could be done alongside some very simple images. Almost like a moment of awakening.
- I mentioned that I had discussed the collision with Alex and we had felt that Xoe needs to disappear at that point. One option would be to use the dome and the film to direct the audience’s attention away so that Xoe can leave. Tadas suggested just to kill the video and kill the light and use a moment of complete darkness so the main load of this moment would be in the music. Another option would be to do the opposite and use a very bright light. I replied that we had also thought of using a flood light which would blind the audience for a second.
- Dani suggested that the image in the dome could turn to the image of water as it is the material to host life.
- Tadas said that he was thinking of a shot to do with seeds e.g. taking an apple seed out of an apple. Dani suggested doing a time lapse of a seed sprouting. I then suggested a time lapse of flowers dying and then reversing it. This would also relate to Xoe.
After this workshop I shared Alexander’s costume ideas which can be found below.
I also sent out the text for the triple study, which can be found below.
By the end of this period we had decided to reorganise the character studies into one longer piece which we named The Triple Study.
During this period we began involving Alexander Kaniewski in our workshops and progressed towards developing the film of The Triple Study. Following are details of notable workshops and materials created in the progression of this work.
During the period from the second half of October onwards we began involving Alexander Kaniewski in our workshops and progressed towards developing the film of The Triple Study. Below are details of notable workshops and materials created in the progression of this work.
AP 1.3.h 05/11/2020
For this workshop Daniel, Alexander and I met in person at the conservatoire to do a socially distanced mapping of the triple study. The aim of this was also to help Daniel get a sense of the other elements of the piece before finalising the music.
We started the workshop by thinking about the Measurer and decided on the following elements:
- The Measurer will be standing when they are performing, on a chair in the middle of the Planetarium (in the audience). As the Measurer piece will now come after the Triple Study we decided that they will stand up when Xoe starts talking about being the two tailed messenger.
- When they stand they will use a mechanical old-fashioned ruler to point to things on the dome and on the stage.
- The Measurer must not be too grandiose (not too much like a master of ceremonies). This involves making sure that the arms are never raised too high so as to avoid the musical theatre/cabaret manner.
We also discussed how the star could be represented physically.
- The piece starts in a fire of creation. This can be represented by the 4 members of the star creating strong angular poses, moving every x number of bars into a new pose. With energy creating a strong profile. All would ideally be standing together in one block whilst doing this although this may be rethought with social distancing restrictions.
- This also led Daniel to consider having the star chorus singing a series of chords, rather than singing in the rhythms dictated by the system. These could be sung using different phonic parts of the words in the libretto.
We spent the rest of the time mapping out the path of the characters throughout the triple study, and then a potential staging for the whole of the opera.
- The moment of collision will involve the passing of something or of some part of the costume of Xoe. This moment will involve Pantele and Xoe being with each other. Perhaps with Xoe behind Pantele. There is still the possibility of removing Xoe at this point but this may not actually be necessary.
- There is a moment where the measurer looks at the transits. For this we will see a tableau created by all the characters at the front of the stage.
- A video of the blocking, created by Roxanne after the meeting, can be found below.
We also discussed Xoe’s movement and costume. The findings for this were:
- Xoe will move in slow defined poses. She will be always crippled and pained in one part of her body and will use this to deform her posture as she moves around the space.
- Her costume will have sails hanging down from each arm. These will allow her to create more defined and extreme looking poses. It will also allow her to potentially envelop Pantele in the moment of collision.
- We discussed that she could open one side of the sail on the journey to the star and the other side on the return. She could also lose part of the sail or a ribbon from her costume when she passes past the star.
AP 1.3.i The triple study
I continued to work online with Daniel, Tadas and Alexander throughout November and some of December. During December I recorded and learnt all the vocal parts of The Triple Study. I wrote this short summary of the discovered vocal characteristics.
During December and over the Christmas break I developed an understanding of some of the vocal characterisation of each character in the triple study by recording all parts myself. This also gave us a test audio in place of the final recording, which Tadas could use to build the film.
Xoe: The vocal characteristics are light, steely, flexible, dramatic, playful. I was using full voice but not in a fully operatic manner, mixing a bit between a more musical theatre style voice and operatic.
Pantele: Pantele has 2 sides to her personality which are represented by two different tonalities in her voice. The shadow is a very full, round and dark operatic sound while the self is much lighter, has less vibrato and is a more choral/childlike sound.
The Star: The tonality of the star in the triple study is very neutral until the final dictation which is far more dramatic and pompous. The character will be pompous throughout the rest of the piece, apart from those moments where it is being used as part of the ensemble sound.
This work will help in directing the singers who are going to be recording the different parts for us.
My own recording of the music helped to inform the way I related the characters to the other singers for the recording process towards creating the film of The Triple Study. This was completed in February 2021. See film below.