music theatre in flanders - Muziekcentrum Vlaanderen

In turn, music students, struck by the magic of music an sich,
will develop little awareness of the meaning and impact on music
of lyrics, libretto and, even less perhaps, of theatrical and rhetorical
effects. Literature, poetry and rhetoric are all right, but let us,
above all, enjoy making music! And once they practice their profession,
most musicians will show little interest in, for instance,
theatrical elements in music. Because they were simply never
taught how to deal with them.
The FATA MOrGAnA
Still, music and theatre are children in one and the same family.
Whatever the style, music is a language, with its grammar and
rules, with a syntax and its proper rhetoric, form and diction. Language
and theatre use the same parameters as music: melody,
rhythm, timbre, dynamics, articulation... Both disciplines only really
exist when they are imbued with craftsmanship and the joy of
performing in a mature performance practice.
The basis of communication is exploring one’s own and the
other’s limits, getting off one’s little island. The danger for word
and music students is that they stick to sunbathing on their own
little heavenly island far too often. Still, the gap is not really that
deep, the water is far less turbulent than it seems. Exploring each
other’s island with interest proves fruitful for both...
MuSIC In drAMA TrAInInG
Broad and profound music interpretation is the basis for any musical
training in drama. In my music lessons for instrument makers
at ILSA, I have a very heterogeneous group of students, whom
I bring together through music: the classical musician who has
had ten years of training and the pierced backyard garage rock ‘n
roll player who is driven by enthusiasm. And it works, simply by
having them listen to a rich variety of music. They are offered listening
methods and attitudes which they eagerly assimilate and
which help them learn to appreciate each other’s music. From
then on, the ice is broken and they will begin to collaborate. For
musically untrained drama students, such a guided promenade
through the rich variety of music can be a true trip. In my opinion,
it is equally obvious to explore all possible relations between text
and music thoroughly through songs, standards, cantatas, operas
and libretti... Guided listening and theoretical formation have to
be part of the student’s musical living environment.
Such nutrient will deliver rich fertile soil for more technical
and practical music courses in which making music remains the
focus of attention: solfeggio, vocalization, singing, composition
and arrangement, performing. For these students, making music
is not self-evident. Some do play an instrument, some have
some experience with ensemble, but many have neither. Within
the framework of a drama course, it is difficult to make room for
profound music performance training. That is why collaboration
with, for instance, music students, can be a useful solution.
Still, it is clear that separate music training within the framework
of a drama course is impossible to achieve. Music’s added
value within a theatrical framework has to be reflected and acknowledged
in all other courses. It should be possible to combine
and train theoretical and practical aspects on a regular basis, in
combination with word and drama within the performance and
presentation practice itself. For the students, this practice creates
moments to work up to. Confrontations with an audience will
help them gain the experience – also on a musical level – that is
required to develop craftsmanship and to master the trade.
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