The Naked Shit Songs

 

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June 22 & 23 – 2017 Holland Festival:
Christopher Robson (countertenor) as Gilbert
Nigel Robson (tenor) as George
Xander van Vledder as Theo van Gogh

Marien Jongewaard – direction

Erik-Ward Geerlings – dramaturgy

Kristján Martinsson – repetitor, keyboards/flute
Wiek Hijmans – electric guitar
Onno Govaert – drums
Tim Sabel – piano
Vasilis Stefanopoulos – double bass

GALA koor o.l.v. Yt Nicolai
reART Wereldmuziek Koor o.l.v. Selim Dogru
Jasper Hupkens

The Naked Shit Songs – a retropera
Wereldpremière 22 juni 2017 & 23 juni – Amsterdam Stadsschouwburg

touring 2018

 

Xander, Nigel, Christopher, Kristján at the rehearsal in april

 

Cast:

Xander van Vledder as Theo van Gogh
Christopher Robson (countertenor) as Gilbert
Nigel Robson (tenor) as George
Music/concept          Huba de Graaff
director              Marien Jongewaard
dramaturgy       Erik-Ward Geerlings

Kristján Martinsson – repetitor – organ/synthesizer/flute
Wiek Hijmans – electric guitar
Tim Sabel – piano/synthesizer
Vasilis Stefanopoulos – doublebass
Onno Govaert – drums

 

Gala-koor

choirs:
GALA-koor o.l.v. Yt Nicolai
reART Wereldmuziek Koor o.l.v. Selim Doğru
Jasper Hupkens
pre-recorded Nederlands Kamerkoor

reART Wereldmuziek Koor

reART Wereldmuziek Koor

dekorontwerp – Juul Dekker
lichtontwerp – Wilfred Loopstra
kostuumontwerp – Bernadette Corstens
assistent kostuums – Siebe ten Dam
sounddesign – Vid Ahacic
video ontwerp – Willem Weemhoff
voorstellingsleider – Janneke Lindner
technische coördinatie – Huub Mars
ondertitels (arabisch) – Bakhcha Mohammed

Publiciteit – Lonneke van Eden – bureau TamTam
Grafisch vormgever- Emmy Visser

publiciteit HF – Laura Reijnders
producent HF – Janneke den Engelsen
technisch coördinator HF – Peter Romkema
onderitels (engels, nederlands) HF – Erik Borgman

pre-recorded choir : NKK olv Peter Dijkstra
pre-recorded: trio Escapada (Emma Breedveld, Bence Huszar, Sebastiaan van Delft)


zakelijke leiding Britt Verstegen
 info@cultuurkwesties.nl
31 (0)6 4577 8047

productie Geertje Spaan
 geertje@hubadegraaff.com
 31 (0)6 1438 1644

publiciteit Lonneke van Eden – bureau tamtam
 lonneke@bureautamtam.nl
 31 (0)6  290 30 776

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When/Where:

INFO
data:  do 22, vr 23 juni 2017 Holland Festival
at:  20:00
location:  Stadsschouwburg Amsterdam, Rabozaal
duration: 1’40 , no pause
language: English with Dutch – English – Arabic subtitles
info en kaartverkoop Holland Festival

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Press:

interview VPRO-gids
interview cultuurpers
interview Christopher Robson – BBC4
interview Telegraaf
interview Theatermakers (radio) with Erik-Ward Geerlings: part1
part 2part 3part 4part 5
interview Huba Parool
Artikel NRC

interview VPRO-television

artikel in Parool door Rob Malasch: 


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Theo van Gogh interviews Gilbert & George in 1996


In zijn serie televisie-interviews Een prettig gesprek ontving Theo van Gogh in 1996 het Britse kunstenaarsduo Gilbert & George. Het libretto van The Naked Shit Songs bestaat uit de integrale tekst van dit gesprek.
Menselijke spraak is vanuit zang ontstaan in de evolutie (zie ook: Apera).
Eerst was er zang, van daaruit ontsond spraak.

In deze opera wordt de tegenovergestelde beweging gemaakt: de zang ontwikkelt zich vanuit de gesproken tekst.

Gezongen krijgen de woorden uit 1996 een andere lading. Spontane uitspraken over kunst, seks of religie krijgen een epische dimensie.
De tekst wordt een bezwering: een zingen tegen de dood, de dood van van Gogh en het verlies van een tijdperk. Het interview staat symbool voor een verloren gegaan tijdperk, waarin kunst een grote mate van vrijheid genoot. Het einde van dat tijdperk valt deels samen met de brute moord op Van Gogh in 2004.

De tekst van het interview is opgedeeld in zes scènes van telkens 1000 woorden met tot slot een coda.

Theo van Gogh wordt vertolkt door acteur Xander van Vledder, Gilbert & George worden door de britse zangers (en broers) Nigel Robson en Christopher Robson gesproken en gezongen.


Sinds de late jaren zestig zijn Gilbert Prousch (1943) en George Passmore (1942) actief met performances en conceptuele kunst. Het duo is bekend om fotomontages waarin zijzelf, dikwijls naakt, figureren en waarin regelmatig sperma, bloed, urine, braaksel of uitwerpselen te zien zijn. Een voorbeeld daarvan zijn The Naked Shit Pictures (1994-95), in 1996 geëxposeerd in het Stedelijk Museum.





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What:
The Naked Shit Songs
a retropera

‘We believe in democratic pictures. That a child can see them and understand in some level, and a person of ninety.’ This is what Gilbert & George said to Theo van Gogh in 1996. Van Gogh spoke to the artist duo in his legendary programme Een Prettig Gesprek (A Nice Chat) at the time of The Naked Shit Pictures exhibition at the Stedelijk Museum. Huba de Graaff, composer of Apera (about the origin of singing) and Pornopera (about the art of moaning), used the interview as libretto. Directed by Marien Jongewaard, actor Xander van Vledder as Theo van Gogh, Nigel Robson and Christopher Robson as Gilbert & George, and a choir sing this ‘retropera’ – about art, sex and religion, Muslims, tolerance, love and death.

Why does anybody sing?
I think in the evolution of mankind first there was singing.
And only after more then 10.000 years man became able to talk.
Monkeys also do sing (see my earlier composed Apera), demented elderly like to sing, children sing before they can talk, stutterers have benefit from singing as well.
Singing is something very deep in the (human) nature.
But singing seems quite strange, like you have to make extra effort.
People talking the whole day through, but they hardly sing.

With these thoughts in mind I met Jan Elbertse one day, and he gave me the tape of the interview (Theo van Gogh interviews Gilbert & George, broadcast by AT5 in 1996), and asked me if I we could do something with the interview.
So I began to write some songs based on the dutch subtitles, but I realized more and more:

This should be a grand opera.

1996, it seems so long ago.
People were drinking wine and smoking cigarettes on television, meanwhile discussing everything, frankly.
About gay people, about muslim people, about art, about Christian values, about money, shit, and about love, tolerance and death.

These spoken words are all very impressive, and should be emphasized.
Moreover, we know what happened to Theo van Gogh in 2004.

So I decided to write an opera.
We go back in time, to 1996 – it feels a very long time ago – and we’ll cherish those words, and save them.
Moreover, we are going back from speech to singing.
I decided to use the entire interview to sing, instead of making some songs, so I made a transcription of the complete interview.

And I came across the following questions:

Which words?
All.
We go back : from speech to singing.
So all spoken words, including all the wrong words spoken, and all giggling and stuttering included.
Ultimately, there is a (small) part of the interview I skipped. An artistic choice. The rest is all sung literally.
Hahaha and hehehehe too.

An opera or …?
What form? One ‘nice’ aria after the other?
Or use an idiom in which you can make a compositional construction to create the notes which will be sung?
Or just a translation of the speech in common pitches and rhythmic?
No, of course not.
I wanted to sing the words instead of speaking.
Like :
‘…underneath the arches…’
‘Bend it, bend it, just a little bit and take it easy, show you’re likin’ it’….
or whatever.

This opera feels like a tribute to three very special artists.
And you do not want to punish the audience with “difficult” modern music.
It’s sung speech.

Also: Art for All is the credo of Gilbert and George.
The London taxi drivers must understand their art as well.
So they also should understand and be able to sing this opera as well.

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So only ‘easy tunes’?
But then you’re stuck as a composer very quickly. The listener cannot stand an hour and a half filled with ‘stupid’ songs. It quickly gets annoying, this overdose, one song after another. (For one hour interview).

And most important: the content, the words, needed to be part of something bigger: a huge compositional form.
Oratorium, or whatever. I chose a Cantata form à la Bach.
To avoid ‘kitsch’ sentimentality and my own subjective interpretations, I chopped the text into pieces, rigorously.
Every scene now consists of exactly 1000 words
and is divided into 8 parts of 2 x 50, 2 x 100, 2 x 150 and 2 x 200 words, in alternating sequence.
6 Scenes, and finally a coda.
I created a musical form structure, comparable to the art-presentation of Gilbert and George.

What is musical ‘shit’?
How to choose the musical material?
The interview took place during the exhibition The Naked Shit Pictures’ in the Stedelijk Museum.
I made a musical translation.
I created a ‘turd’ theme, shit theme, a simple bassline, but each scene differently notated. In scene 2 this theme is just going straight, but in the third scene: pitch reversed.
And then: pitch and position reversed, and finally position reversed.
Every scene makes use of the same theme: the ‘drol’ (shit), but always in different perspective.
Interspersed with the 2nd theme: a reference to the AT5-tv tune, and the 3rd theme is from a street found cassettetape :  junk material. (Retro-cassette has a prominent place in this opera, as sound object).

Modern composer – what the fuck?
Composers are capable of using compositional techniques to create a larger musical form.
Of course, music is just music, organised sound, but it requires a ‘different’ technique to keep the audience 1 and a half hours listening.
For me it was a compositional challenge to compose a ‘grand majestic’ form – with very simple and recognizable (for all !) basic material.
So the choice of musical material was not about for instance interval series such as ‘A – C # – b – a # – Es’ or whatever, but ‘tralala, humdumdumdeedeedum, Tiddle-ee-um pompom, obladee, etc.

Tralalala, and that’s it?
No, that won’t work. Moreover, there is a build-up in the interview.
I chose a dramatic musical structure: the form is enlarging and multiplying all the way through.
In the 1st scene they are only just “chatting”, in the 2nd scene they start to sing in the style of ‘Underneath the Arches’ (the successful act of Gilbert and George as singing statues),
and gradually it expands towards opera-singing: so the tempo is forced down, and it get’s monumental. From exactly halfway, at the intersection point in the musical form Theo starts singing as well. Also more singers are joining. Finally the entire Gay and Lesbian Amsterdam – Choir (the choir Gala) sings along as well as a kurdish choir.

Opera as A Big Ritual.

Why do people sing songs anyway?
Traditionally mankind sang lyrics, words, to keep and to cherish, to hold and to pass on to future generations. (Troubadours, liturgical singing, etc.)

Finally, we know what happened in 2004.
Is it true that so much has changed in such a short time?

What happens with the content of speech when it is being sung ?
We’re going to find out.
“Art Has to ask questions, that’s it.” (Gilbert and George in 1996)

HdeG 01-02-17
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Een Prettig Gesprek van Theo van Gogh met Gilbert & George is een programma van Theo van Gogh, Olivier Jansen en René van Praag (c) 1989-2017 TVAmsterdam/RVP Produkties, Amsterdam’.
photography London: Chris Gloag / Britt Verstegen
Many thanks to Jan Elbertse, who came up with the VHS-tape from 1996
naar een idee van JanElbertse

co-production  Nieuw West / Marien Jongewaard


zakelijke leiding Britt Verstegen
 info@cultuurkwesties.nl
31 (0)6 4577 8047

productie Geertje Spaan
 geertje@hubadegraaff.com
 31 (0)6 1438 1644

publiciteit Lonneke van Eden – bureau tamtam
 lonneke@bureautamtam.nl
 31 (0)6  290 30 776


 

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