On this page you will find the 21 complete theater piece performance scores from the early 1980′s, and any additional scores beginning in 2011. Please be aware that copyright is strictly enforced for everything linked here. Should a performance of any score be initiated or transmitted in any form, please notify ASCAP so that performance royalties may be appropriately paid to the composer.
The following are theatre pieces, the first 21, are from source sets book 1. Abacus 2062011 for Theater Troupe (American Nero) is currently a work in progress not found in the book.
Appendix for Book 1: Preface to the Theatre Pieces
Although consisting of many pieces with differing work numbers, the collection of theatre pieces are parts of the whole. That is, the entire collection is a single vision; a single entity consisting of numerous separate pieces. Not unlike a moment in time in which many stories occur at different places on earth and its colonies. In the same way that one person lives only his/her own life and is not in several places simultaneously, these separate pieces exist. All individual parts connected and related while at the same time bearing different names, numbers, and identities. This appendix contains the complete set of Theatre Pieces; a total of 21.
3 Theatre Pieces, Work no. 25; in 3 Acts (1982)
Theatre Piece No. 1:
The setting is a moderate sized room, comfortably furnished with a blend of contemporary and traditional decor. A television is on but the sound is off.
A woman is playing the row, 0, 3, 9, 6, 1, 2, 5, 11, 7, 8, 4, 10 with her right hand only. 3 people dressed in street clothes enter the stage; one is carrying a 12 inch knife, one has a handgun, the other a sledge hammer. They slowly approach the pianist. As they come closer and closer, a man enters and says; “sounds aleatory to me – I guess in music you can do anything or nothing, it all sounds the same anyway”.
At this point, the attackers should raise their weapons to attack both the pianist and the instrument. The pianist should stop, look at the assembled men and say in a calm pleasing tone: “But your thinking is irrational and you’re apparently not listening, besides, fear of the dark is for children”. She should resume playing the row.
The 4 men should leave via stage left and the man who made the statement should continue glancing back at her as they depart.
Theatre Piece No. 2:
The setting is inside of a bookstore. A viola player has been employed for a “day of culture”.
The viola player is improvising on the set 0-5-8-10-9-1-7-3-4-2-11-6 in a combinatorial manner. Another person interrupts the musician and asks, “Do you know if they have books on gambling”? The musician asks “What do you do for a living”? The customer answers “I’m a research scientist in atomic physics”. The musician replies “Sorry I don’t gamble” and resumes his playing. Another person interrupts the musician and asks “Do you know if they have any books on game theory”? The musician (still playing) asks “What is your occupation”? The customer replies “I’m an executive in a corporation”. The musician stops playing and says “Go ask that scientist, he’s pretty smart, he might know”. The musician then continues to perform. As the musician is playing an especially difficult passage the two customers accidentally knock over an entire book rack filled with books. It produces quite a noise. At this point the musician stops performing.
Theatre Piece No. 3:
The setting is a small clock shop. a section of the store is reserved for small music boxes. There are two styles of music box, one very badly made which plays the theme “twinkle twinkle little star”, the other is exquisitely crafted and plays the Ives song “Duty”.
A customer looks for some time at the available gifts. The customer goes to the music box section and listens to two music boxes in their entirety deciding upon the one playing “twinkle”. The customer takes the music box to the sales person and says “I’ll take this one please”. The sales person says “Would you like it wrapped and a card with it also”? The customer replies “Yes and sign it please”. The customer leaves the store.
At this point the sales person goes over to the music box section and listens to the Ives music box saying “Brainwashed Rollo always buys the cheap stuff”. The sales person closes the shop and counts the days money.
Theatre Piece No. 4, Work no. 33; in 1 Act (1982) Duration: 20 minutes
The setting is a zen monastery. There are trees in a garden and a small pool of water. There are some wind chimes. A slight breeze activates them periodically. In a small building an old man is listening to 20th Century Haiku being performed by musicians in the garden and is having tea. It is twilight.
A young man enters. The young man asks “Can you teach me zen”? The old man says “Look into the water – what do you see”? The young mans reply is “I see the moon and myself”. The young man sits on a bench underneath a tree very disappointed.The old man pours himself some tea.
At this moment the young man walks over to him saying “I want you to teach me zen”. The old man looks grimly and says “I.. what do you hear in the Haiku”? The young man listens intently and says “I hear noise”. The old man says nothing after hearing such a response. At this moment the young man goes back to the pool just as a small child playing the row 0-3-6-2-1-4-9-5-11-10-7-8 on a flute walks into the monastery, once inside the child stops playing the flute.
A young woman wanders by the pool and the young man asks her what she sees and hears. After gazing for a short time she answers “I see ripples and I hear music”. The old man laughs loudly.*
*The old man had been practicing Zen for 21 years with no success but at that moment he was enlightened.
Theatre Piece No. 4 is Creative Commons (1983)
Theatre Piece No. 5, Work No. 35 (in 3 Acts)
The date is approximately 1976 – winter.
A small house in Boston Mass.
(19.5″x24″ photograph on the wall of an Ostrich with its head in the sand).
1 – an older man
2- A man in his early 20′s
3- A small child
4- The older mans’ wife
Child singer improvises (no sprechstimme or speaking). The man in his 20′s is sitting staring out the window – the child is playing with some toy soldiers fashioned in the era of the American Revolution. The older mans wife is looking for sheet music in their music library. The older man enters the house from their back door.
1- “Are you going to do it? Keep your gun? Or are you going to think all day”?
4-The older mans wife enters saying “I’ve found it”! She immediately sits at her piano and begins playing atonal piano pieces written before 1976.
1- “It’s not such a big decision – perfectly natural, man is a hunter”.
2- “I know all that but it’s against the law. I’m afraid to break the law”.
1- “But who’s going to know besides us? And it’s not such a long drive out of state”?
2-”But why is it a crime when long ago it wasn’t illegal”?
1- “You see those soldiers your son is playing with… those were desperate men! The kings laws were just that – the kings laws, not the laws of nature. In the eyes of the king, the Americans were criminals – how could there be so many criminals unless the laws themselves were unjust”?
4-The woman stops playing for a moment and says “I’ve lost contact with nature – living in this concrete and steel has robbed me. The only life I see is a bird in a cage…”
2- “Strangers with an instrument of death, I’ll be the one breaking the law”!
4- “Yes, those were desperate men”. She resumes playing the music.
3-The child playing with the toy soldiers softly sings “Stop and don’t go any further, we’re hunters”. Leaving the toys the child goes over to the man in his early 20′s asking ‘Can I go outside and play”? The man nods yes, then the child leaves out the back door.
4-The woman stops playing the atonal music, leaves the bench and looks for a time at the picture of the ostrich with its head in the sand. Saying “The secrets of the universe were hidden in the theory of music and the average Greek citizen never understood; they killed Socrates, you know… serious music appeals to serious minds”. She goes back to the piano and resumes playing.
2- “Prisons are artless societies manipulated by artless individuals”. The young man looks at the woman, “You practice that strange music all day long and never get a job, I don’t understand”.
4-The woman stops playing, looks at the young man; “Your thinking is irrational and you apparently haven’t been listening”. She resumes her playing.
1-The old man says “I hear they’re having a new music concert at the library next week can’t you play there”?
2-The young man says laconically “They hired someone else”.
1-The old man is still in his work clothes. “I’m tired from chopping wood, I see you after I rest a bit”. He heads for the bedroom stopping to brush some dust off of his clothes, then goes into the bedroom closing the door behind him.
4-The woman stops playing. “He’s been having strange dreams lately”. She resumes her playing.
2-The young man spins the chamber on his revolver and pulls the trigger several times; stands with arms at his side, gun in one hand, walks over to the picture of the ostrich, looks silently at it for several seconds and says, “I won’t let irrational people destroy my family – there’s no morality in that”.
Music continues as curtain closes for the end of act 1.
Act 2 (the old mans dream):
The old man is asleep on his bed (off to the side) still in his work clothes. A group of 7 philosophers are discussing music theories. 20th century 12-tone electronic music provides background sound. A video tape playing is on a small screen. A video collage is the content of the video tape (video only); also a large video screen connected to a computer.
#1 – The chairman speaks:
“Now, it can be argued that music composed by a scientist with a computer is a sign of mankind’s progress. This of course depends upon the reasoning behind such a statement”.
#2 – Someone interrupts:
“I wonder, if a person uses a machine to compose doesn’t it seem that this person is in fact mentally deficient? Ask yourself these questions: what can be said of the person who uses his or her brain to compose? Doesn’t it seem that given two people, one with the need of a machine to aid thinking, and another with no machine that the latter is in fact more intelligent should they achieve equivalent ends”?
(points to a video screen while speaking)
“Simple example; a man lifts 300 pounds weights with his own power while another uses a machine forklift. Which one is physically stronger”?
#1- Write on a large video screen.
Spoken statement: “If a person has been bed ridden for a long span of time, then attempts to walk, the need for a crutch arises to aid this person. Now, in order for this person to be physically strong, sooner or later the crutch must be cast off. For if this person truly believes that they, he, or she is physically fit, then he or she only fools themselves. In a society where the majority of people walk or think with a crutch, the further development and wider dissemination of the crutch would occur and entail progress. Should a person appear who needed no crutch what would be the general reaction of society”?
All are silent as the music ends. End of act 2.
Act 3, Scene 1 (Pastoral): Duration of Act 3 is 21 minutes
A small group of people are standing a the base of an “impossible” mountain. A group of people are throwing dice, playing a game of craps. A guitarist is sitting on a large rock playing various guitar musics on his or her guitar. Genetic engineers illustrate their feudal mentality when they contemplate cloning humans, arguing that the world needs egocentric philosophies. Mankind is the center of the universe again? Rather than waste time finding more lethal bacterias, a society should form to investigate the cloning and re-population of the earth with those species which man kinds more barbaric tendencies forced into extinction. Perhaps (once again) the many species will populate the earth. 4 genetic engineers argue for the society, and decide to form it.
(the crap game continues)
Perform music from the source set.
Question: “With your intelligence for math why don’t you study to be a technician”?
Custodian: “It’s bad enough that I have to clean up the mess but I’m sure not going to contribute to it”.
Act 3, Scene 2 (In the Laboratory):
This is a pseudo debate (i.e. argue). Using set theory to decipher Egyptian hieroglyphics, convince that they are mathematical and not linguistic. Archeologists are bent on the ideas of language but the scientist wins out.
End of act 3
Theatre Piece No. 6, Work No. 38 (1982)
Go to any institute of higher learning (or one of lower learning). Find a good sized dance hall or similar. No permanent (i.e. bolted down) seats. Acquire some musicians and a poet, play some music, recite some words, rehearse a couple of tunes, present a slide show (but don’t talk about the slides – just keep playing). Jam some jazz and or rock. Between pieces of music one of the musicians should write on a blackboard one of the modal sets (matrix) and field definitions as I presented them to the Michigan Music Theory Society. Do this for OI, OD, OP, OL, OM, and OH. The work is finished after the last matrix is written on the blackboard. Blackboard should be illuminated by a single spotlight. Musicians should feel free to set up at different positions at different times. Don’t roam. Light level in the hall should be low and may be color(s). Don’t charge admission! Don’t announce the performance to the public. And don’t ruin valuable property – no one likes an idiot.
Theatre Piece No. 6 is Creative Commons (1982)
Theatre Piece No. 7, Work No. 40
6 video cassettes and screens
1 performing ensemble
Video cassettes should be composed of scenes of the performance(s) of all the Theatre Pieces assembled in a collage.
Theatre Piece No. 8, Work No. 41
This piece requires dancers capable of using the sign language of the deaf.
All musicians must be on stage.
Take any prose from the source set. Convert all of the images into set design, props, costumes, lighting, and any other visual needs. Do not use film or slides to create image. Holograms may be used (but it’s not mandatory).
At least one deaf dancer should use the sign language of the deaf (dance song) to recite written text. Dancers should be well choreographed and may “sing” (so to speak) in unison or any form of counterpoint. All movements should be fluid and highly emotive. The use of the sign language should be subtle yet noticeable to the non hearing. When properly performed all images should be clearly articulated. As for the music, combinations of my music can be used, or an improvising orchestra can be used (i.e. 2 stereo turntables, 4 synthesizers, 1 electric guitar, computer controlled percussion, SATB recorders (not tape recorders), and forte piano. Forte piano player is responsible for cuing instruments in and out and controlling dynamic levels. Acoustic instruments must not be amplified). The only limitation is that volume should not be loud to a person with normal hearing. This work is intended for all. Under no circumstances should the “lyrics” be spoken orally – use only the sign language of the deaf. Don’t tell those with normal hearing the contents of the pieces. They should only be aware of the performance of an abstract dance This last is most important.
Theatre Piece No. 9, Work No. 42
There are 4 versions of this work.
No.1 – For 1 stage:
Take any idea from the source st and using mime artists, convert it into action. No music. Use complete staging, costumes,scenes. Strive for realism. Any number of performers can be used. No sound at all.
No.2 – For 2 stages:
Take any two ideas from the source set and using mime artists, convert them into action. No music. Use complete staging, costumes,scenes. One stage should strive for realism, the other should be free fantasy of those staging the event (performers that is). Both stages should be performed simultaneously. Any number of performers can be used. No sounds at all.
No. 3 – For 3 stages:
(1) Combine the concept of no. 1 and 2; or (2) center stage should be realism and the 2 side stages are the free fantasy of the choreographer (in 3 separate acts). No music. Use complete staging, costumes, scenes. Any number of performers can be used. No sounds at all.
No. 4 – For 1 stage:
Combine the concepts of no.1 and 2. Perform on 1 stage in 3 acts. Use music. May be done at a single performance or in 3 consecutive days at 1 act per day.
Theatre Piece No. 10, Work No. 44 (1983)
Like a dream. Duration approx 20 minutes.
(1) A man smoking a cigar at desk – looking for perormers of “genius” caliber.
(2) Man: “Do you know any _________ ? (name a piece of music)
(3)Performer: ” No but I can play ___________ . (plays it)
continue in this way for awhile.
(4) Expand on this theme:
Mozart enters, performs, and is turned down. Man says: “We can’t use you, you have no degree, sorry”.
Bach enters enters, performs, and is turned down. Man says: We can’t use you, you have no degree, sorry”.
Berlioz enters and argues his abilities. Man says: “We can’t use you, you have no degree, sorry”.
Beethoven enters, performs, and is turned down; tells the man off. Man says: We can’t use you, you have no degree, sorry”.
Liszt enters, performs, and is turned away. Man says: We can’t use you, you have no degree, sorry”. Liszt doesn’t take it, tells the man off and leaves.
(6) Man: “Oh well – that’s show biz”. Says to an assistant: “Take down the Babbitt poster – no money”. End
Note – all composers tell the man off. Any composer may be substituted for the above if criterion is applicable (i.e. no degree).
Theatre Piece No. 11, Work No. 45 (1983)
Play: Acquire the necessary players. Perform “Meno” by Plato.
Music: Use graphic scores and allow the musicians to interpret the scores. The number of musicians is free to change throughout the play. Palindrome from silence to sound to silence.
Note – the play should begin and continue for some time without music (i.e. play begins and music begins sometime thereafter). Music must provide a quiet (i.e. low decibel) background only. There must be an “overture”. Do not pervert the play, that it, perform it as written and with seriousness. Instruments can not be amplified or electrical in any way. Performers must be skilled on their instruments.
Theatre Piece No. 11 is Creative Commons (1983)
Theatre Piece No. 12 [ 0 thru 11 mod 12] (After the Sky Turns Red)
Performance of this piece requires:
1 – The View from Ground Zero – Work No. 29
2- Abstract Dance for Solo Dancer and Tape
3 – Moonbeams Cast Ghostdreams – Work No. 30
“1″ contains 1 tape and 3 lighting scores; “2″ contains 1 tape; “3″ contains 2 tapes to be played simultaneously, 1 score for tape playback and modification, 1 set of poems for the female (non dancer) speaker.
Theatre Piece No. 13 (in 3 Acts), Work No. 47 (1983)
Row = 0-9-7-1-8-11-2-6-3-5-4-10
Duration – 20 minutes
(1) Dust devils: 5 dancers; 6 instruments, 1 electronic 8 rack tape with speakers and sounds distributed from the matrix.
Scenario – a pastoral tone painting of dust devils.
(2) Dance of the Sophists: for solo dancer dressed as a peasant and periodic entry of auxlirary dancers.
The Scenario is is the Dark Ages. On coat racks can be seen the uniforms worn by 20th Century judges; there are 9 of these uniforms. There is a visible list of cases pending, on the list are offenses for carrying handguns and non payment of income taxes. Also there are portraits of the signers of the ‘Declaration of Independence’ hanging crooked and some are defaced, others torn. A large video projection of the Bill of Rights is visible on a screen. Articles 1, 2, 3, and 4 of the Amendments have been heavily censored. Law books are in abundance.
A small pile of books is burning, The scene is one of the destruction of fundamental rights by those with power but no wisdom. or virtue. Several computers are running silently and on their screens can be seen tax rolls and calculations. Music playing in the background is Schoenbergs Ode to Napoleon, op. 43. A portrait of Schoenberg is off in a corner left pure and not defaced, Upon seeing the portrait of Schoenberg the peasant begins to organize the wreckage and clean away the destruction. Schoenbergs portrait need no repair (use the portrait painted by Schoenberg himself). This portrait is rehung y the peasants. The others are straightened and restored. Censored passages are emoved from the Bill of Rights.
(3) 5 Dances for 12 Dancers:
Use the Ives songs: (a) From “Paraclesus”, (b) Like a Sick Eagle, (c) any contemporary music , (d) Memories, (e) any contemporary music. This piece should be broken up by intermissions. 1, 2, and 3 may be performed in any order or as written.
Theatre Piece No. 13 (in 3 Acts) is Creative Commons
Theatre Piece No. 14, Work No. 51-B (1984)
This work is an installation.
(1) Any three line drawings
(2) Any two collages
(3) a. By Their Acts Ye Shall Know Them (collage), b. Man With A Tongue Around His Neck (chalk drawing), c. The Theorists Dilemma (collage), d. O Phrygian (line and chalk drawing), 2 wood boxes (rectangular) with their height greater than their width or depth. The boxes should be 3 & ½ feet tall. One is to be made of Teak, the other Maple. A phonographic turntable (circa 1980) will res upon the top of the Teak box, its power cord not visible. It should be protected entirely in a glass box perched on top of the Teak box. Both the Teak box and the glass box should be well fitted to one another. Use a vinyl disc with a white label with o writing on it. The stylus should ride in a single groove in the center of the disc and must remain there.
Th Maple box should be of the same dimensions minus the glass box. 2 sets of headphones are to be placed upon these boxes with their cords penetrating near center of the box, separated by 21 millimeter distance between holes. Inside the box a tape playback machine plays John Vincents music continually. The music can only be heard through the headphones.
The two boxes are separate by a 12 foot distance. The light levels should be low with spotlights on all art objects.
Finally a keyboard performer should be in the same room, off in a corner. Keyboard players should be playing an “18th Century” type clavichord. Use only 20th Century graphic scores (i.e. Indeterminate or aleatory scores only). A keyboard player should be on hand at all times but may play whenever he or she desires.
Theatre Piece No. 15, Work No. 51-A (1984)
Locate a place where the wind blows. 24 Aeolian Harps (this harp is a zither, used in ancient times, with a box resonator strung with gut strings of identical length and pitch but of various thicknesses, and of low tension. Its strings are set in vibration by the action of the wind and sound in soft chords) must be built.
The scenario is a place alone and away from many people, the harps should be placed so that only 3 harps can be heard at any one time. Tune each harp to a different pitch; any octave or octaves may be used. This should be experienced only by those willing to venture into a meadow somewhere in the mountains. The harps must not be visible from below. The sounds should seem to come from the heavens.
Theatre Piece No. 16, Work No. 57-A
Scenario: Outdoors; musicians goal is to fine the following event and to perform:
A public park; craftsmen of all kinds (e.g. jewelry makers, potters, ceramists, painters, etc.) are assembled making and displaying their wares. The townfolk come and mingle, haggle with the craftsmen. Sevral different groups of musical ensembles are to perform for the event. Although this event is to be preplanned, all that is necessary for the musicians performing this theatre piece to do is simply get an agreement with the head of programming in order to perform for an hour or two. No need to let anyone know that a Theatre Piece is occurring but it may be announced after its completion.
Theatre Piece No. 17, Work No. 57-B
Locate a public stage; or arena.
Musicians needed = Jazz Rock Ensemble
Approximate instrumentation = Drum kit, 2 guitarists with amplifiers, 1 bassist with amplifier, vocalist(s), optional keyboardist with amplifier. Actually any Jazz Rock Ensemble can perform this piece.
The action: The piece begins with an empty stage.
(2) Set up all equipment
(3) Test all equipment to see that it is functioning
(4) When all equipment is ready and functioning without problems and all musicians are satisfied then (5)
(5) Dissemble all equipment and clear the stage
(6) The piece ends with an empty stage – as it was found (End)
Theatre Piece No. 18, Work No. 58
There are 4 options for this piece. It is a work for dancers and tape.
Choose only one of 4 possibilities. The possibilities are:
(1) Oresteia (after Aeschylsus)
(2) Philoctetes (after Sophocles)
(3) Hippolytus (after Aristophanes)
(4) Frogs ( after Aristophanes)
It si the dancers duty to interpret the story utilizing this composers musical interpretatons which are preserved on tape. For (1) and (2) tapes exist which bear the same title as the above dramas.
For (3) utilize the tape piece “Collage no. 1″ as per the instructions for the tape.
For (4) utilize an orchestra of: 4 pianos tuned ¼ tone apart. 4 violins, 6 violas, 3 cellos, 10 double basses, 6 trumpets (muted), 14 french horns, 3 trombones, 4 tubas, 5 flutes, 3 piccolos, 4 oboes, 2 english horns, 6 clarinets, 2 bassoons, 3 contra bassoons, 3 different sized triangles, 1 12 inch cymbal, 1 24 inch cymbal (soft and hard mallets in 6 graduations), 1 3 inch cymbal, 1 36 inc gong, 1 bell tree, different sets of chamber chimes, 2 latin percusion afuche casaba, 1 latin percussion agogo bell, 1 tamborine, 6 sizes of latin percussion wood blocks, 5 sizes of temple blocks, and 3 tape recorders. (it will be necessary to record various bird songs, cricket sounds, and any sounds of the country. Use no cosmopolitan (i.e. city) sounds). Conductor is to cue all dynamics and instruments in and out at will, as well as improvise tempo and time signatures. Players are to ad lib (when cued) on their own instruments. (Also 6 tympani are to be utilized). This orchestra is not to be used in a live rendition but rather, is to go into the recording studio and make a tape recording of the improvisation. It is the tape which is to be used by the dancers when public performance is given.
Theatre Piece No. 19, Work No. 62
For 12 dancers and tape.
re: the rows
Dimension of Vectors = 12
5 vectors; 2 are defined
Vector A Element No. Vector B Element No.
0=0 6=11 0=0 6=4
1=1 7=3 1=6 7=3
2=4 8=8 2=2 8=10
3=2 9=10 3=9 9=5
4=9 10=7 4=11 10=7
5=5 11=6 5=1 11=8
Vector C Element No.
Vectors a+b=d; Vector D = the row 0-7-6-11-20-6-15-6-18-15-14-14
The Dot product of Vectors:
Vector #1 Vector #2
A A = 506
A B = 416
A C = 398
A D = 922
B B = 506
B C = 344
B D = 922
C C = 506
C D = 742
D D = 1844
The length of Vector A = 22.4944438
The length of vector B = 22.4944438
The length of Vector C = 22. 4944438
The length of Vector D = 42. 9418212
The Angle between vectors:
Vector #1 Vector #2
A A = 0 radians 2.2E-03 Degrees
A B = .6056 radians 34.701 Degrees
A C = .6656 radians 38.1347 Degrees
A D = .3028 radians 17.3505 Degrees
B B = 0 radians 2.2E-03 Degrees
B C = .8232 radians 47.1687 Degrees
B D = .3028 radians 17.3505 Degrees
C C = 0 radians 2.2E-03 Degrees
C D = .6948 radians 39.8116 Degrees
D D = 0 radians 1.4E-03 Degrees
Vector E = the row 0-0-2-9-17-(-5)-10-(-3)-10-5-13-8
The Dot Product of Vectors:
Vector # 1 Vector # 2
A E = 524
B E = 578
C E = 236
D E = 1102
E E = 866
The length of Vector E = 29.427878
The angle between vectors:
Vector # 1 Vector # 2
A E = .6574 radians 37.6662 Degrees
B E = .5091 radians 29.1721 Degrees
C E = 1.2063 radians 69.1137 Degrees
D E = .5114 radians 29.3021 Degrees
E E = 0 radians 1.9E-03 Degrees
Vector F = the row 0-7-4-2-3-11-5-9-8-10-1-6
[Notice that vector F = vector c (f=c). Also notice that if vectors e-d then the above row would contain negative elements in mirror form]
These values should be verified prior to performance due to errors or typos.
End of Theatre Piece No.19
Theatre Piece No. 20, Work No. 67
This piece can use magnetic tape music from most any source (i.e. composer). It is necessary to send requests for submissions of magnetic tape music (audio only) to some composers organization. After enough music has bee received a place to stage the event must be found. A different name should also be given to the event or source of events, that is, it may or may not be made known that this “Theatre Piece” is/was being created. Sculptors can be utilized in which it would be best to conceal the speaker system (or systems) in a sculpture created by yourself or someone else. The exhibit can be placed in a public access area or in some isolated wilderness or anywhere it seems necessary. The ideal situation is a collaborative effort between found composers and sculptors. Given the fact that many times it’s difficult (especially i remote areas) to find enough sculptors willing to cooperate it might be necessary to to create the sculpture yourself. Of course any existing speaker system can be used as it would constitute a found object and some artist working for a speaker or “Hi-Fi” manufacturer did design the system. In many cases this is a sculpture and quite acceptable. The event can be any length any format. Use your imagination.
Theatre Piece No. 21, Work No. 73 (2Acts)
Abstract Dance (improvise) for 24 dancers, 1 prepared piano, 2 prepared acoustic guitars, tape, and laser lighting. Duration: approximately 30 minutes.
Situation – The energy need of the planet have been supplied by building solar collectors on the face of the twin planets closest to the sun, also their moons. The energy needs are so great that a network of energy beams are projected throughout the solar system, transmitted by satellite stations. The result of this is that the electromagnetic resonance has upset the gravitational balance of the 2 inner most planets causing a slight shift in their orbits. The resonance of all the other planets is upset as they are thrown out of orbit.
This ends the 21 Theatre Pieces included in the Appendix to Book 1 of Source Sets for Theatre Pieces.
Abacus 2062011 for Theater Troupe (American Nero). This particular dance is Creative Commons – distribute freely.
I haven’t composed a theater piece in many years. I am resuming using found objects and posting the script here on the theater pieces page. Musical materials can be found in Source Sets For Theatre Pieces – Book 3. I’m especially enamored of the idea of “American Nero“; a little something about a billionaire Hungarian-American financier that destroys freedom for personal profit and a big shot leader con artist head of a nation that dances with a violin and a teleprompter strapped to his every move; together they destroy the individual freedom of the masses. It’s a story of unbridled narcissism. So it begins..
Entry 1: Character Background – Main Character no.1
American Nero is a “Byronic Hero” of mixed ethnicity, but doesn’t know which one to favor. In truth neither should be favored as AN (i.e. American Nero) has both heritages. AN had a father that was communist, so AN is half red as a symbol, and a mother that was an environmentalist, so that AN is also half green as a symbol. AN chooses to identify with the father and is therefore confused regarding identity. AN has chosen a life partner that is red and throughout their relationship AN has been indoctrinated by this partner to dismiss any green heritage. So AN acts like red and is easily manipulated, as well as being an expert manipulator as a consequence. AN looks more red than green so the charade is very simple to pull off. This appeals to the billionaire financier who see an opportunity to utilize the potential to gain more power and wealth.
American Nero dance steps are derived from the soroban in the following sequence: 1,(stop),9(stop),10,(stop),5,(stop),5,(stop),5,(stop),3,(stop),2,(stop),2,(stop),3,(stop),5,(stop),2,(stop),3,(stop),5,2,(stop),3,(stop),5,2,(stop),8,(stop),3,(stop),2,(stop),1,(stop),9,(stop). The auxiliary dancers are to apply the above steps retrograde as they dance accompaniment to AN.
American Nero Dances:
There are two dances AN is to engage in, these are as follows but not necessarily in this order.
First Dance: The Golf dance. While there is trouble all around, (which can be viewed on media screens taken from found object events in the real world), AN plays golf. AN can golf with others both known an unknown but the number of auxiliary dancers during golf is 5. AN wastes a lot of time golfing it seems, oblivious to the world around.
Second Dance: The Global Warming Dance. AN is dancing with a group of 21 scientists; 5 of them are green in color and 16 have natural human coloration. Even as the scientist disagree, AN removes those scientists from the dance that do not agree with the billionaire Hungarian-American financier, who is advocating global warming for personal financial gain, leaving a group of 5 compliant scientist with green faces. The billionaire Hungarian-American financier, whose coloration is the pale grayness of death, is manipulating AN with strings, like a puppet and AN is too weak to resist.
Third Dance: American Nero’s Wife Dance
American Neros’ wife. She is a manipulative background character to AN. She is a Marxist in her actions, but calls herself progressive to confuse others, and is completely red as a symbol of her background. She has spent her life trying to erase ANs memory of mixed ethnicity and refuses to see his green side. Over the years, her constant propagandizing to AN about the importance of his redness has had the negative effect of AN not seeing the his mixed ethnicity. She has done this for political, financial, and personal gain. It has destroyed any objectivity AN may have had and allows him to be easily manipulated.
Do As I Say Not As I Do Nutrition Dance:
Characters: American Neros Wife, and a group of children.
All characters dance steps are derived from the soroban.
The Steps for ANs Wife: 3, stop, 2, stop, 5, 1 , 9, stop, 3, stop, 2, stop, 5, 3, stop, 7, stop, 2, stop, 3, stop, 5, 3, stop, 7, stop, 2, stop, 3, stop, 5.
The steps for the childrens group: 2, stop, 8, stop, 4, stop, 1, stop, 5, 3, stop, 7, stop, 4.
The childern are enjoying playing and eating candies and various fried foods. They are playing in the manner of 19th Century American Childern games traditionally from that era. American Neros wife sees this and forces the children to be very auster in their playing, eating, and wearing or they are punished. As the dance evolve American Nero’s Wife and her entourage (who is always dressed in wealth and with an expensive entourage) can be seen buying, eating and wearing all those things she forbids the children from doing.
The dance begins with the children very happy and well adjusted, and AN’s wife is agitated by their behavior. Throughout the dance, as the children’s pleasures are diminished AN’s wife increases her happiness. At the end of the dance the children appear neglected, all dressed poorly and the same, and are very lethargic. However, AN’s wife (and her two children) are increasingly wealthy, eating the richest foods, and irrationally ecstatic from their Dionysian pleasures. The dance ends as the children collapes in sorrow, AN’s Wife smirks, has her two children gather up as much of the other childrens belonging as they can, and her entourage leaves the stage feasting on the bones of a pheasant.