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Sounding the Body Electric: Experiments in Art and Music In SOUNDING David Crowley, Daniel Muzyczuk THE BODY ELECTRIC Eksperymenty Experiments w sztuce i muzyce in art and music w Europie Wschodniej in Eastern Europe 1957–1984 1957–1984 DŹWIĘKI ELEKTRYCZNEGO Łódź 2012 CIAŁA SPIS TREŚCI | Contents David Crowley Dźwięki elektrycznego ciała / Sounding the body electric 8 – 103 Daniel Muzyczuk Opisy prac / Descriptions of Works Zawiera wybór tekstów źródłowych / Contains a selection of source texts 108 – 222 Jiří Valoch Partytury / Graphic Scores 110 Stanisław K. Stopczyk Architektura i muzyka. Wywiad z Oskarem Hansenem / Architecture and music. Interview with Oskar Hansen 139 Teresa Kelm, Zygmunt Krauze, Henryk Morel Kompozycja przestrzenno-muzyczna / Spatial-Musical Composition 149 Milan Knížák Zniszczona muzyka / Destroyed Music 155 Andrei Monastyrski Muzyka wewnątrz i na zewnątrz / Music Within and Outside 160 Grzegorz Kowalski, Zygmunt Krauze, Henryk Morel, Cezary Szubartowski 5x – seans audio-wizualny / 5x – An Audiovisual Performance 182 Vladan Radovanović Głos z głośnika / Voice from the Loudspeaker 194 Jerzy Rosołowicz Koncert na 28 poduszek i zachód słońca / Concerto for 28 Pillows and the Sunset 206 VAL (Ľudovít Kupkovič, Viera Mecková, Alex Mlynárčik) Akusticon 220 PODZIĘKOWANIA / ACKNOWLEDGEMENTS Jaroslav Anděl | Daniel Bird | Bolek Błaszczyk | Jozef Cseres Chris Cutler | Branko Dimitrijević | Dobrila Denegri | Dunja Donassy Andrzej Dłużniewski | Szábolcs Esztényi | Darko Fritz Milan Grygar | Marcin Giżycki | Jola Gola | Igor Hansen Francisco Infante | Zoltán Jeney | Tomasz Jeziorowski | Júlia Klaniczay Teresa Kelm | Krzysztof Knittel | Marie Knížáková | Milan Knížák Petr Kofroň | Natalia Kolodzei | Vitaly Komar | Grzegorz Kowalski Zygmunt Krauze | Katarzyna Krysiak | Boris Kršňák | Ľudovít Kupovič Zofia Kulik| Andres Kurg | Milo Kurtis | Alexandra Kusá Katalin Ladik | Michał Libera | Jacek Malicki | Dorá Maurer Kazik Mazan | Michał Mendyk | Maria Mileeva | Alex Mlynarcik Viera Mecková | Andrei Monastyrsky | Agnieszka Morawińska Katarzyna Murawska-Muthesius | Andrija Mutnjaković | Lev Nussberg rodzina Pawłowskich / Pawłowski family | Piotr Piotrowski Marek Pokorný | Paweł Polit | Łukasz Ronduda | Andrzej Rosołowicz Vladan Radovanović | Józef Robakowski | Eugeniusz Rudnik Josef Schreiner | Jane Sharp | Maryla Sitkowska | Martin Smolka Zdeněk Sklenář | Lech Stangret | Stanisław K. Stopczyk Marinko Sudac | Masha Sumnina | Miško Šuvaković Jacek Szerszenowicz | Krzysztof Szlifirski | John Tilbury Margareta Tillberg | Markéta Tintěrová | Grzegorz Tyszkiewicz Jiří Valoch | Irina Vanechkina | Jelena Vukovic Ewa Witkowska | Krzysztof Wodiczko DŹWIĘKI SOUNDING ELEKTRYCZNEGO THE CIAŁA BODY ELECTRIC David Crowley David Crowley W roku 1958 pewien polski film krótkometrażowy zdobył uznanie krytyków In 1958 a short Polish film won the attention of critics around the world. Dom na całym świecie. Dom, bo o nim mowa, autorstwa Jana Lenicy i Waleriana (The House), an animated film made by Jan Lenica and Walerian Borowczyk Borowczyka, wyprodukowany przez Studio Filmowe KADR, stał się objawie- in the KADR Film Studio was a hit at the International Experimental Film Fes- niem Festiwalu Filmu Eksperymentalnego towarzyszącemu Wystawie Światowej tival at the Brussels World Fair (see page 120). Relaying the dreams, desires w Brukseli (patrz s. 120). Film, który opisuje sny, pragnienia i fobie kobiety and phobias of a woman who seems to be remembering her lover, it uses zdającej się wspominać ukochanego, używa animacji poklatkowej, by ożywiać stop-motion to bring objects to life: food, newspapers and hair seem to move przedmioty: jedzenie, gazety i włosy poruszają się niby siłą własnej woli. Gdzie under their own volition. In other sequences, the human ‘characters’ seem to indziej „postaci” ludzkie zachowują się, jakby były we władaniu niewyjaśnio- be under the control of unexplained forces, repeating the same mechanical nych sił, powtarzając te same mechaniczne gesty: para szermierzy z serii sta- gestures: antique prints of two men fencing are looped in one extended pas- rych fotografii zostaje na przykład zapętlona w jeden długi fragment. W eseju sage, for instance. Writing in Film Quarterly, critic Parker Tyler praised the opublikowanym w „Film Quarterly” krytyk Parker Tyler chwalił tę animację animation of these images and things, calling this ‘movement’: przedmiotów i obrazów, nazywając ją „ruchem”: ‘By Dom’s courtesy … we can discern the same sort of movement as aesthetic „Dzięki Domowi […] możemy wyróżnić ten sam rodzaj ruchu jako wartość este- value because it is manipulated rhythmically and spatially in whatever way tyczną, ponieważ jest on manipulowany rytmicznie i przestrzennie w dowolny desired; the film’s modernist music score italicises this point … it is predomi- sposób; modernistyczna ścieżka dźwiękowa dodatkowo to podkreśla […] jest to nately a laboratory film, a true creative work being concentrated in the ways przede wszystkim film laboratoryjny, prawdziwie twórcze dzieło skupione na that already created drawings and photographs are reused.’1 działaniach, jakimi poddawane są już zastane grafiki czy fotografie”1. Tyler admitted his surprise that a film which drew its effects from the studio, Tyler wyrażał zaskoczenie, iż film oparty na efektach stworzonych w studiu, or what he called ‘the laboratory’, could be creative. In fact, two studios had czy też tym, co nazywał „laboratorium”, mógł być twórczy. W rzeczywistości been required to make this film; one was the KADR Film Studio where Lenica nad Domem pracowały aż dwa studia; jednym był KADR, gdzie Lenica i Borow- and Borowczyk worked and the other was the Electroacoustic Department czyk pracowali, a drugim – Zakład Elektroakustyki Politechniki Warszawskiej, at Warsaw Polytechnic (Zakład Elektroakustyki Politechniki Warszawskiej) w którym Włodzimierz Kotoński nagrał towarzyszącą filmowi muzykę. Kom- where composer Włodzimierz Kotoński produced the accompanying music. pozytor opisuje nagrane w duchu eksperymentu na początku 1957 roku etiudy, Created in the spirit of experiment, Kotoński described the études, made in które później stały się ścieżką dźwiękową filmu, jako wczesne próby musique early 1957 and which later became the film’s soundtrack, as early ‘tests’ of concrète2. musique concrète.2 Tnąc, zapętlając i przetwarzając dźwięki wokalne i instrumentalne nagrane na By cutting, looping and manipulating vocal and instrumental sounds recorded taśmie magnetofonowej, Kotoński – we współpracy z inżynierem dźwięku – on magnetic tape, Kotoński – working with an engineer – created a remarkably stworzył wyjątkowo plastyczny kolaż muzyczny. Napisom początkowym to- vivid musical collage. The opening titles of Dom are accompanied by whir- warzyszy pulsujący furkot, który zdaje się pochodzić ze świata naturalnego. ring pulses which seem to have departed their origins in the natural world. Następnie ostre dźwięki fortepianu i przestrzenne uderzenia towarzyszą Later, brittle piano sounds and reverberating beats accompany a section of 8 9 DAVID CROWLEY | DŹWIĘKI ELEKTRYCZNEGO CIAŁA David Crowley | SOUNDING THE BODY ELECTRIC fragmentowi, w którym do życia budzi się przerażająca maszyna-monstrum. the film in which a menacing machine-monster throbs into life. For Tyler, the Dla Tylera dźwięk i obraz były tu połączone we wspólnym celu. Z pewnością soundtrack and imagery were united in a single purpose. And it is certainly jest tak, że muzyka Kotońskiego wprowadza klimat zagrożenia w działania the case that Kotoński’s music lends menace to the film’s strangely animated dziwnie żywych maszyn i dziwnie mechanicznych ludzi Domu. To, czy inte- machines and oddly mechanical human actions. Whether the intellectual lektualne kwestie nurtujące wtedy filmowców i kompozytora, były takie same, preoccupations of the filmmakers and the composer were united is less sure. jest mniej pewne. Wykorzystujący wizerunki z okresu belle époque, rozmyśl- Lenica and Borowczyk’s willfully nostalgic film – making thorough use of belle nie nostalgiczny film Lenicy i Borowczyka był badaniem wizualnych kodów époch imagery – was an exploration into the visual codes and preoccupations i zainteresowań surrealizmu. W oczywisty sposób szedł pod prąd uderzającej of surrealism. It was evidently out of sync with the heady rhetoric of tech- do głowy retoryki technologicznego postępu, jaką ogłaszano w całym bloku nological progress then being proclaimed throughout the Eastern Bloc after wschodnim po śmierci Stalina. W erze Sputnika, cybernetyki i nowoczesnej the trauma of Stalinism. In the age of the Sputnik, cybernetics and modern telekomunikacji, Lenica i Borowczyk czerpali satysfakcję z opisywania siebie telecommunications, Lenica and Borowczyk drew satisfaction from describing i swojego filmu jako „prymitywnych”. Kotoński dla odmiany miał stać się jed- themselves and their film as ‘primitive’. Kotoński, by contrast, was about to nym z pionierów muzyki elektronicznej. W tym samym roku, kiedy pisał etiu- carve out a reputation as a pioneer of electronic music. In the year he recorded dy dla Domu, zaproszono go do wzięcia udziału w Międzynarodowym Kursie the études for Dom, he was invited to attend the International Courses of New Nowej Muzyki (Internationale Ferienkurse für Neue Musik) w Darmstadt. Music (Internationale Ferienkurse für Neue Musik) in Darmstadt. A centre for Kompozytorzy z Darmstadt, które było ośrodkiem bezkompromisowego, uncompromising total serialism associated with Pierre Boulez and Karlheinz totalnego serializmu związanego z Pierrem Boulezem i Karlheinzem Stock-
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