Current Projects  

Speculum Maius(The Great Mirror)

A live participatory Mixed Reality opera for 4 singers, 1 actor, 4 soloists ensemble, AI generated live electronic and audiovisual interactivity with live audiences participatory AR/VR App. 

 

Duration : 50-60 min without break

Speculum Maius is a ground-breaking new opera that merges pioneering live Mix Reality(AR&VR) interactive technology together with live music performance and AI generated live electronic. 

 

A live MR participatory interactive opera performance, seamlessly merging the real and the digital together. A performative mixed realities exhibition opera whereby the AR objects become one moment in a storytelling musik performance. 

 

Using the MR App as dramaturgical guidelines to offer a reflection of how we function together in a society and the moral relationships that we have. Speculum Maius examines the ways how technology can shape humankind, altering societies, how it can affect personal relationships, and its difference between man-made and natural environments. 

 

 

For the first time, opera audiences can participate live in an innovative multimedia music theater performance and create their own AR&VR sound world together with other audience members. Audiences participation is live in the theater with the interactivity with the App to influence the music and the scenes live. 

Creating immersive experiences of possible poetic vision of what would be the process of digitization of our mind through a dreamlike and emotional journey in which the different natural conflicts inherent to consciousness will be manifested.

 

 

Exploring a new relationship of how live music can navigate and interact with audiences in contemporary music theater.

The compositional concept is constructed on live audiences interactivity, when the audience's actions become a generator of sounds.

The different worlds, both virtual and real in Speculum Maius are enriched by an analogue of live music and live theater audiences reactions. 

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Speculum Maius is an embodied mirror of reflections of worlds: utopian and dystopian, virtual and spiritual, past and future, human and machine. Worlds within worlds, the heterotopian states, layered upon each other and existing simultaneously creates new complex realities, narratives, and understanding. Speculum Maius aims to explore the innovative combination of interactive MR and AI technology, the young generation of video-game culture with traditional music theater; the new integration of immersive theater and live interactivity; and how these new hybrid states and technologies can have an impact on society. 

 

Speculum Maius is reshaping the experience of traditional music opera, increasing accessibility, to create a mixed dialogue of the traditional opera experience with digital 3D experiences that expands human perceptions, investigating new possibilities of creative expression and audience participation.

 

 

Speculum Maius is funded by Kultur Gemeinschaften, Kunststifung NRW and Fonds Darstellende Kunst. And it will be premiered at the Kunstmuseum Bonn, in collaboration with Theater Bonn, from 9 to 11th of December, 2022. 

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Necromancy for Beginners

Duration : 60 min without break

 

In both Asian and European storytelling traditions, the stories of spirits, ghosts and other worldly beings hold a strong importance in their culture. These stories, now often forgotten in the narratives of the contemporary world, will be re-explored and retold in a new immersive multimedia music project. Necromancy for Beginners hopes to take the audience on a journey between the worlds of the living and the non-living. Proposed as a part concert, part seance, part artificial reality, part storytelling, part A.I, Necromancy for Beginners aims to create a new work that blends the traditional with the modern, and explores how the digital realm can be seen as a metaphor for the spiritual realm and vice versa.

A series of ritualistic seances are performed by a group of musicians. These rituals

are inspired by the ten rituals of “Khon reīyk p̄ hī” (คนเรียกผี) from Thai culture, ways that have deep similarities to European traditions of Necromancy. Each scene is designed to evoke the spirit of one ghost, mediated through a series of performative actions and narrative stories that are based upon characteristics of that ghost. Each ghost is taken from either local Thai stories like Kuman Thong, Hun Phayon, Khwai Thanu Nang Tani, Phi Am.

 

 

In a new digital staged environment created by Studio M.A.R.S., Dr. Marcus Doering PMD-ART, and visual artist Kittiphun Janbuala, a fully interactive video mapped space becomes the playground for this exciting new hybrid work, that blends music performance, ritual and theater. With its distinctive music language and performance, it aims to break down boundaries between humans and spirits, real and surreal.

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Necromancy for Beginners is a new multimedia music theater that amalgamates artistic disciplines among contemporary music concert, performing arts, immersive theatre with advanced video-mapping technology. The goal of this production is to create a conversation and dialogue through the context of Thai superstitions, and the use of digital technology as a medium.  

 

Necromancy for Beginners is supported by Goethe Institut International Coproduction Fund. It will be fully presented during 20 - 25th of December 2022 at Bangkok Art and Culture Center as a main program of the Thailand New Music and Arts Symposium.  

 Privation Is Like A Face

 

A live participatory Mixed Reality with AI generated interactive performance concert for 2 female singers, 2 Violins and 2 Violoncellos, Live AI generated electronic, live audiovisual interactive projection, with audiences participatory.

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Contemporary Music
& Performing Arts Curatorial Practice 

The first finding is that the use of the term curating often seems to be used as a rhetorical marker to flag that the approach to organizing is based on some kind of theme, and therefore rather than operating within one single artistic tradition, is willing to engage with any related artistic discipline. 

It is also commonly associated with references to the visual and performing arts in this respect, and to practices that engage or navigate through multiple fields. An observed emphasis on experiments with concert staging, creating alternatives to established forms, relationships between various forms of knowledge, and by extension often also political considerations, means that curating is connot ated with a renewed emphasis on the relationship between contemporary music and society, and a break in some form with the status quo.

A second finding is that an implicit understanding of the curator as a person who experiments with the design of the concert setting and format, similar to the concept of concert dramaturgy, emergences frequently. Interesting about this aspect of the understanding of curating in music is that it is related to a very specific profile of the curator in the visual arts, whereby a star curator turns the organization of the exhibition and its mediation into a quasi-artistic practice and as a form of authorship.

The lack of substantive scholarly reflections on the concept of curating in musical practice, in the neighbouring areas of dance, theater, and performance, significant reflection on the role of the performance curator has existed for several years from multiple practitioners, and can help shed further light on the current understanding of curatorial practice in the performing arts.

Experimental Curatorial Practice:  

Choreographed Exhibition

Theatrical Exhibition 

Concert Exhibition

 

A show, could happen in opera and theater houses, as well as in museums. different aesthetic conceptions confront are presented in confrontation with each other.

All forms of theater for which music plays constitutive role. Those genres which fall under this term include opera, operetta and the musical, in addition to a spectrum of diverse genres like new music theater, experimental music theater, instrumental theater, staged concerts, concert installations, musical performance and so forth. Matthias Rebstock: ''these relationships between movement, sound, performing, etc. all be fluid, and thus at best renegotiated with each new performance, based on what is for the entire group the most appropriate and interesting way of composing them all together. ''