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Petrushka's Cry
Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
2010 (Swedish)Artistic output (Unrefereed) [Artistic work]
Resource type
Mixed material
Abstract [sv]

Petrushka's CryKoreografi och rörelseprogrammering:Åsa Unander-ScharinDockmakare och programmering: Magnus LundinMekanik och miniatyrscen: Åsa Unander-Scharin,Petra Kiiskinen, Erik PerssonMusik: Carl Unander-Scharin (music for mecatronics #2)Urpremiär på Dansmuseet år 2005.Scen- och sinnesproduktion med stöd avKonstnärsnämnden, Stockholms läns landsting ochStatens kulturråd.En elektromekanisk miniatyrversion av baletten Petrushka som ursprungligen koreograferades av Michael Fokin för Ryska Baletten i Paris år 1911 till musik av Igor Stravinskij. Likt en positivhalare vevar publikenfram dansverket så att ballerinan snurrar och Petrushka framför sin förälskat knyckiga dans. När veven stannar faller Petrushka kropp uppgivet ihop. Petrushkas datorstyrda kropp (70 cm hög) består av aluminiumplattor, plexiglasskivor, platsrör, en flörtkula, en ryggrad av träkulor, vajer och piprensare, sju motorer, kretskort, kablage, skruvar och muttrar. Ballerinans mekaniska kropp (75 cm hög) är en kombination av metallstänger, fjädrar, en CD-skiva, tyll, mekano, ett förgyllt dörrknoppsknä och en klocka som huvud. Dockorna står på en sammetsklädd låda (50x80x90cm3) som rymmer vevmekanik, dator, elektronik, vattenpump och högtalare.TV-reportage SVT Kulturnyheterna och TV4 Nyhterna samt pressklipp finns att se på: http://www.operamecatronica.com/pressÅr 2006 vann Petrushka’s Cry publikens specialpris i VIDA 9.0 med motoveringen: “Attributing emotions to inorganicbeings is an archaic human ploy seen in the long history of puppets and effigies. The story of Petrouchka’s unrequited love for the Ballerina transfers this ancient fantasy to the realm of today’s interactive automata. In Åsa Unander-Scharin’s installation, the audience literally winds up the Ballerina with a crank handle, and her pirouetting vertical figure releases magnetic signals that drive Petrouchka’s computer-choreographed movements and his falling tears, while controlling the electroacoustic remix of Stravinsky’s piano score. The Motographicon choreographic processing programme, of which the artist is a co-developer, is subtly used to maximise the affective qualities of Petrouchka’s gestures: he reaches out to the ballerina, straightens up hopefully, then sighs and slumps, resigned to his limits. The puppet has been built to allow these emotionally communicative postures to be emphasised, through fine adjustments of spine, head and arm movements. Whereas puppets described in Heinrich Von Kleist’s famous text are “notafflicted with the inertia of matter”, this figure is poignantly afflicted with the emotional and mechanical hold of the obliviously pirouetting ballerina. Gravity is manifest as the fatal attraction exerted on Petrouchka by the indifferent dancer, and as the weight of the doomed puppet’s feelings, its tears helplessly marking time like a metronome.”

Place, publisher, year, pages
Stockholm, 2010.
Keywords [sv]
Konstnärligt arbete
National Category
Music
Research subject
Musical Performance
Identifiers
URN: urn:nbn:se:ltu:diva-33718Local ID: a9248f80-0211-11e0-9633-000ea68e967bOAI: oai:DiVA.org:ltu-33718DiVA, id: diva2:1006959
Note

Godkänd; 2010; Bibliografisk uppgift: Udgiver: R1 Kungliga tekniska högskolans underjordiska experimentscen; 20101207 (asauna)

Available from: 2016-09-30 Created: 2016-09-30 Last updated: 2018-03-01Bibliographically approved

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http://www.operamecatronica.com

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Unander-Scharin, Åsa

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