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Joan TOWER Composer/Pianist and the DA CAPO CHAMBER PLAYERS from New York City

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Joan TOWER Composer/Pianist and the DA CAPO CHAMBER PLAYERS from New York City Copyright Steven Errol Paxton 1981 MUSIC FOR WINGS by STEVEN ERROL PAXTON, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted May, 1981 /l^- /,,•-" / C^c:) A'-''• ^ / ACKNOWLEDGMENTS I am deeply indebted to the cast and production staff of Wings, and especially to Professor Ronald Schulz, Director, Tom Colwin, Scene and Lighting Designer, and Freda Williams, actress. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS 11 LIST OF ILLUSTRATIONS iv PART ONE I. HISTORY OF THE PROJECT 2 II. MUSIC AND SOUND DESIGN 8 III. SYSTEMS DESIGN 14 Recording the Sound on Tape 14 Reproducing the Sound in the Theatre 21 IV. CONCERT PERFORMANCE OPTIONS 26 PART TWO MUSIC FOR WINGS I. AWAKENING 30 II. WAITING 36 III. A- PARK BENCH 48 IV. THE DEATH THING 54 V. A PARK BENCH IN WINTER 5 7 BIBLIOGRAPHY 72 APPENDIX 73 A. LOCATION OF TAPE RECORDINGS OF WINGS 74 B. SOUND CUES FOR SOUND-TRACK VERSION OF WINGS 75 C. PROGRAMS OF PERFORMANCES OF WINGS 80 • • • 111 LIST OF ILLUSTRA.TIONS Figure 1. Processing-Recording Procedure 17 2. Use of ARP 2600 as a Sound Processor 19 3. Labeling of Speaker Connections 22 4. Six-Channel System 24 IV PART ONE CHAPTER I HISTORY OF THE PROJECT On November 21, 1980, the Texas Tech University Theatre's production of Arthur Kopit's Wings opened in the University Theatre. This opening had been preceded by months of research, planning, and rehearsal on the part of the production staff and the actors. The preliminary designing stages were especially important since this was to be a production which thoroughly integrated light, set, and sound design. The play's subject matter itself had evoked a unified, far- reaching design concept: Emily Stilson, a cardiovascular stroke victim, courageously tries to reassemble her splintered world, drifting between realms of distant memories, surrealistic confusion, mental instability, reality, and dreams. The design elements of the play would necessarily parallel her perception of those worlds. In the staging directions throughout the script, Kopit describes this integration of design, or at least alludes to the desirability of such a concept: Cacophony of sounds heard from all around, both live and from the speakers. Images suggesting sensation of assault as well. Implication of all these sounds and images is that Mrs. Stilson is being moved through the hospital for purposes of examination, perhaps even torture. The information we receive comes in too fast and distorted for rational comprehension. The realm she is in is terrifying . The sense should be con­ veyed that her world moves around her more than she through it.^ At various points in the text of the play itself, Kopit gives further evidence of the desirability of a unified design concept for the play. The following excerpt, one of Mrs. Stilson's many lengthy monologues, is an example: MRS. STILSON: Dark . space vast of . in I am or so it seems feels no real clues to speak of. Some­ thing tells me I am not alone. Once! Lost it. No here back thanks work fast now, yes empty vast reach of space desert I think they call it I'll come back to that anyhow down I . something what (BRIEF IMAGE OF A NURSE) It's SOMETHING ELSE IS ENTERING MY!—no wait got it crashing OH MY GOD! CRASHING! deadstick dead-of-night, thought the stars were airport lights upside down was I what a way to land glad no one there to see it, anyhow tubbish blaxed and vinkled I com- menshed to uh-oh where's it gone to somewhere flub- bished what? with (BRIEF IMAGES OF HOSPITAL STAFF ON THE MOVE) images are SOMETHING ODD IS! . yes, then there I thank you crawling sands and knees still can feel it hear the wind all alone somehow wasn't scared why a mystery, vast dark track of space, we've all got to die that I know, anyhow then day came light came with it so with this you'd think you'd hope just hold on they will find me I am . still intact. PAUSE In here LONG SILENCE Seem to be the word removed. LONG SILENCE How long have I been here? . And wrapped in dark. PAUSE •'"Arthur L. Kopit, Wings: a play (New York: Hill and Wang, 1978), pp. 28-29. Can remember nothing. OUTSIDE SOUNDS BEGIN TO IMPINGE: SAME FOR IMAGES. IN THE DISTANCE, AN ATTENDANT DIMLY SEEN PUSHING A FLOOR POLISHER, ITS NOISE RESEMBLES AN ANIMAL'S GROWL.^ Thus, the role that stage design was to play in the production had been mandated by the playwright's staging instructions and by the play itself. Further, the role of music and sound as a major part of that stage design had been mandated by the same factors: the author's staging instructions— The following blocks of sound, which accompany her expedition, are meant to blend and overlap in perfor­ mance . The sounds themselves may be live or pre­ recorded; those which are pre-recorded should emanate from all parts of the theater and in no predictable pattern-^— and the dialogue of the characters— MRS STILSON: What it was . how I heard it how I said it not the same, you would think so but it's not. Sometimes . well it just goes in so fast, in-and- out all the sounds. I know they mean . In light of this evidence, and since Mrs. Stilson's post-stroke debilitation (aphasia) is most noticeably reflected in the way she hears her own speech and in the way she hears the external world—that is, in the way she relates sound to meaning—the production element of sound design had surfaced as that element most capable of conveying to the audience the constant flux of Mrs. Stilson's world, and possibly of emphasizing for the audience her changing situations within that 2 Ibid., pp. 23-24. Ibid., p. 56. 4 Ibid., p. 64. world. In this respect, the sound heard during the play would tran­ scend the concept of design and would take on an actor's role, joining Mrs. Stilson in a dialogue of situations and reactions to situations. The evolution of this expanded concept of sound design was a challenge to the composer of the score, as well as to the other pro­ duction personnel. The challenge was one of flexibility. The techni­ cal personnel would have to create a fluidly changeable environment, and the actors would have to react to and interact with the uncertainty and fluidity of the aphasic mind. The desired end would be the simula­ tion of Mrs. Stilson's world and some degree of audience entry into that world. During the initial run of Wings at The University Theatre, audience reactions and critical reviews bore witness to the success of the integrated design concept and of the expanded significance given to the sound design: Complementing Williams' superb performance as Mrs. Stilson is the music-sound collage composed by Steve Paxton. The grinding catastrophe of her stroke, the strange, distorted voices in her mind, the bizarre dis­ orientation of space—all are captured in Paxton's composition.-' The electronic music and sound effects created by Steve Paxton serve well as a guide through the laby­ rinth which is the character's mind, and Tom Colwin's use of lighting is brilliant. Schulz and Colwin more than once use lighting to make their statements, to offer the punctuation necessary to drive a point home. ^John Hardwick, Texas Tech University Daily, November 24, 1980, p. 5. "William Kerns, Lubbock (Texas) Avalanche-Journal, November 24, 1980, sec. A, p. 12. On the other hand, the unusually extensive use of sound in a theatrical presentation created difficulties for some spectators. There were those who found vexing the volume levels and the presence of sound coming from all parts of the theatre; what was powerful and engaging to some was untheatrical and distracting to others. These few negative reactions suggested areas of concern for future efforts toward an expanded concept of sound design in the theatre. On December 3, 1980, the production was mounted at Angelo State University in San Angelo, Texas, as Texas Tech's entry in the American College Theatre Festival. The integrated design elements of the play were again favorably received: Pre-recorded electronic music and assorted sound effects also were used effectively to reproduce the confusion and fear felt by Mrs. Stilson as she sought to understand and deal with her debilitation. The audience experienced her stroke from the inside, hearing the same noises and gibberish, seeing the dark, feeling the isolation.7 Problematic areas were also noted by the festival judges: The one fault on the sound for me was that it drew attention to itself sometimes .... The sound . was so directional (which fit with some things . ) that I'd almost want to turn and look at sound here rather than at ... I wanted it up there. It annoyed me being back here.° The festival judges nominated Wings for competition in the regional American College Theatre Festival and awarded the composer/ sound designer the Amoco Award for Excellence in Sound Design. Renee Kientz, San Angelo (Texas) Standard, December 4, 1980, sec. D, p. 3. Q Jim Morley, taped critique held at the area American College Theatre Festival, San Angelo, Texas, December 4, 1980. On January 18, 1981, Wings was given its final performance at Scott Theatre in Ft. Worth, Texas, as a part of that festival. Tliough audience reaction here was again extremely positive, a review in the Ft.
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