This work was recorded during a live performance in London in 1972. The visual aspects of this performance were particularly important. Unfortunately no film was made, only photos. In order to give some idea of the action on stage, here is a brief description:
Track 1: "Explosion and Birds": (0.51')
From a static compact position in the centre of the stage, without any warning and in total unison, the actors burst out in all directions with a loud cry: a very spectacular and difficult movement, requiring a strong collective sense of tension.
"Birds" uses 'peeps' - very high sounds requiring a lot of muscle training and a deep body centre.
Track 2: "Wind": (0.30')
Light, flowing movements used as a means of theatrically getting into position for the next scene.
Track 3: "Three Conductors" (4.44')
As the name implies, three musical conductors, in a triangular formation, are each facing their own group of actors or "orchestra". The triangle arrangement allows the conductors to see eachother for coordination, rythmn effects etc. A code of hand signals by the conductor informs the "orchestras" of the required sounds.
Track 4: "Beauty and the Beast" (Dorothy's version using a song for Beauty) (1.40')
Dorothy Hart, as the conductor, stands mid stage with two groups of about seven people, on each side of her. One side "Beauty" and the other side "Beast". The volume of sound on either side is governed by the height of her hands: high for maximum and low for silence.
Track 5: "Hunter and the Hunted" Barry Irwin as the victim. (1.38')
This is a theatrical game, again using tension as the device. At the beginning the victim does not know "who" is the victim. However the chorus does know. In the course of the action, it becomes apparent to everyone, including the audience, who the victim is. Then follows the inevitable catching of the victim and the tension of the 'death'.
Track 6: "Echo and Response" (2.42')
One conductor and one chorus. The conductor creates a musical phrase and the chorus, each for himself, has to decide whether he is going to repeat the phrase or give an answer to it. The answer still requires a musical relationship to the orginal phrase.
Track 7: "Watanka" by Nadine George (1.32')
Strong, African influenced rhythms, created by Nadine with the cast.
Track 8: "Peacock Dance" soloist Barry Irwin (3.59')
Barry dances with ankle bells accompanied by the cast.
Track 9: "Beauty and the Beast" (original version) (4.55')
A central conductor with two groups, one on each side. One group sings a "broken" major chord, the other a clear one. Maximum and minimum volumes are indicated with the arms.
Track 10: "Laughing Balls" (1.08')
A group of three women move around the stage and improvise vocally while the rest of the cast are curled up in balls all over the stage. In this position, they repond to everything they hear by laughing and rolling in their ball.
Track 11: "Mama Mama" sung by Vivienne Young, accompanied by Boris Rivers Moore,clarinet (5.31)
As Vivienne sings, she is joined and overwhelmed by the 'Titans', an all male chorus.
Track 12: Dorothy Hart improvises (4.06')
Dorothy uses sections of songs and contrasting sounds. These, with different and more rudamentary aspects of her voice, gives an extraordinary insight into the potential of her voice.
Track 13: "Huwanaku" and "Magic Chord" (9.06')
Seven people in a line and one drummer: each give a different cry, followed by a hand clap, under the direction of Richard Armstrong. In the"Magic Chord" all the members of the cast slowly come together, interlocking and holding a major chord together. This is held and crescendoed with ever increasing intensity until it cannot be held any further. Then it finishes together!! Consciousness between the chorus, even until the end.
Total playing time: 42.21'
"Roy Hart Theatre - preverbal" index page