| Das Fieberspital |
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Diamanda Galás’ concert-length performance Thu 18 June 2015, 20:00 Impart Centre of Arts, Theatre Space ul. Mazowiecka 17, Wroc³aw Admission Zone I: 70 PLN Zone II: 40 PLN Tickets are available at biletin and ticketPro.pl and from the Impart Centre of Arts ticket office. To book tickets at the Impart Centre of Arts, email rezerwacje@impart.art.pl or call 71 341 94 32. The ticket office is open Monday to Friday from 12 noon to 6pm and two hours before each performance. Diamanda Galás will give a work-in-progress concert-length performance of Das Fieberspital (The Fever Hospital), which includes excerpts from the poetry of Georg Heym and Diamanda Galás. The work is for voice, piano and live processing. Much of the work is created from Galás’ voice. Soprano voices are transformed into legato lines of multiphonics, and high and low multiphonics are stacked and processed electronically to no longer resemble the voice but the sound of the hospital in Das Fieberspital. The hospital depicted in the poem is housed in an industrial building, and its patients are stigmatised by yellow fever. Das Fieberspital was written during the height of the German industrial revolution, predating World War I. Heym’s two other poems, Die Dämonen der Stadt and Der Blinde, included early in the piece, sound the anthem of NO FUTURE for Germany. Galás also reads her texts Morphine and The Left Hand of the Father. Another English text written by Galás is incorporated within Die Dämonen der Stadt.  I Das Fieberspital (words Georg Heym)
Intermission (15 min)
II Side Eye Morphine (words Diamanda Galás) Die Dämonen der Stadt (words Georg Heym) Headless A Ticking Crab (words Diamanda Galás) The Left Hand of the Father (words Diamanda Galás) Der Blinde (words Georg Heym) Oktopothia
Created by Diamanda Galás Live Sound Design/Mixing Jasen Hattams Sound Design Willi Bopp Sound Design/Mixing John Kilgore Sound Recording/Mixing Kris Towne, Capricorn Studios San Diego Lighting design Chahine Yavroyan Production coordinator Simon MacColl Produced by Gra¿yna Górka-Dudek Photo by Austin Young
This performance is dedicated to Vincent Cuoco Jr.
Thanks to: G.K. Galás, Maestra Barbara Maier, Dana Rae Paré, Dave Sokol, Hal Wilner From Grotowski Institute: Jaros³aw Fret, Monika Blige, Piotr Jacyk, Barbara Kaczmarek, Katarzyna Lemañska, Pawel Nowak, Paulina Popió³ Thanks to David Walsh for presenting 2014 work-in-progress performance of Das Fieberspital, Part I at the Dark Mofo Festival, Tasmania. More about Diamanda Galás’ Das Fieberspital artistic residency Diamanda Galás is hailed as one of the most important singers of our time. Galás has earned international acclaim for her highly original and politically charged performance works. Notable among these are Plague Mass, Defixiones: Orders from the Dead, Vena Cava, Schrei X and The Refugee. Most recently, her performance work has concerned the musical setting of texts written by exiled poets and writers worldwide. She was the first recipient of the Demetrio Stratos award, Italy’s prize for musical innovation. In 2010 Galás collaborated with filmmaker Davide Pepe to create the experimental sound and film work Schrei 27, an unrelenting portrait of a body suffering torture in isolation. In 2012 Galás began her collaborations with orchestrator Jon Ølvind Ness, resulting in a groundbreaking concert with the Norwegian Radio Orchestra at the Kanonhallen. Also in 2012 Galás presented a lecture-performance, In the Mouth of the Crocodile, at the “Weaving Politics” Symposium in Stockholm (alongside Julia Kristeva and choreographer William Forsyth), and opened Antony Hegarty’s Meltdown Festival at the Southbank Centre in London. Galás’ work in progress Espergesia (with words by Cesar Vallejo, from The Black Heralds), was performed solo a capella in the Emanuel Vigeland Mausoleum in Oslo (2013), with no electronics or amplification, within the space’s natural 25-second delay, in complete darkness. This was the first public performance of the 17-minute work, and it began what Galás hopes to be a series of performances of the work in sacred spaces of 20 or more seconds of delay. Currently, in addition to continued touring, lecture-performances and experiments in visual art, Galás is completing a series of new recordings as well as remastered and remixed versions of earlier works to be released in 2015. More information: www.diamandagalas.com Diamanda Galás’s concert-length performance as part of Masters in Residence programme Supported by the Minister of Culture and National Heritage of the Republic of Poland  |