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The music for The Trial of K was created by Trip-Hop
composer/producer Rench, based on the music he created and mixed live for Synaesthetic's 1999 production, ROT.
The Trial of K was Rench's fourth collaboration with Synaesthetic Theatre.
The Law
Long Hard Night
The Courtroom
Dark Sex
The Bank |
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The music for ARCANA: Cycle of the Fool
was created by composer/producer Todd Amodeo with the cast of ARCANA. Cast members worked extensively with Todd in his
Brooklyn studio -- improvising songs, learning music todd composed and recording text and sounds that were used live in the
production, as well as pre-recorded. ARCANA was Todd's third collaboration with Synaesthetic Theatre.
Until the End of Time
Angelus Novus
Hollow Men |
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The music for Icon was created by Trip-Hop composer/producer
Rench and sound designer James Ford. Icon was Rench's third collaboration with Synaesthetic Theatre and Mr. Ford's first
sound design.
Icon Theme
Marilyn
versus Cypress Hill |
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Shadow of the Invisible Man was the first collaboration
between the brother/sister team of Kristi (designer) and Jory (composer) Herman, creating a complex and haunting soundscape.
Using only the standing bass and the piano Jory Herman and fellow musician, Douglas Billiett, put together an assortment of
sounds and songs that Kristi Herman then expanded, edited and placed throughout the performance. David Leight, Nick Trotter
and Bonejesters contributed to Shadow of the Invisible Man with their original work The Boogey Man song written specifically
for the production.
the Invisible Man alone
the Invisible Man eats
the Invisible Man dreams
the Boogey Man
the Invisible Man on the run
The killing of the Invisible Man |
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The music and sounds used in Ubu 2000
were taken entirely from the datasphere (i.e. pre-existing sources) -- though many tracks were then altered in some way. The
music varied from classical to hip-hop, alternately supporting or contradicting the burlesque vingettes that made up the show.
The production also used sounds taken from New York city streets and environments, often heavily distorted and slowed down up
to 15 times the original speed. Below is a sampling of music used in the production.
Kids Show (found online - source unknown)
Nigger Be Gone (from Peer Gynt)
Fuck Honkey Devil (found online - source unknown)
White Freak Show (found online - source unknown)
State of the City (new york, new york)
The Angels Theme (distorted sounds of NYC streets and subways) |
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The music for Tamatebako {The Box} was
created by Trip-Hop composer/producer Rench. Tamatebako {The Box} was Rench's second collaboration with Synaesthetic
Theatre. In this production the music was divided up according to the characters. Themes were created for the four central figures,
and then variations on those themes layered throughout the performance. Below are the central themes for the AI, the Hacker,
Frankenstein and Prometheus.
AI Theme
Hacker
Theme
Frankenstein
Theme
Prometheus Theme |
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The music for ROT was created by Trip-Hop
composer/producer Rench and mixed live during each performance. The timing and layering of the tracks was recreated each night
by Rench, working from the energy of the actors and flow of the piece. The music served as a constant insight into the paranoiac
mind-trip of Josef K. Below are several tracks from that journey.
The Law
Leni
/ K
Long
Hard Night
The
Painter
The
Priest |
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The music for In The Elephant's Mouth
was created by the ensemble during the five and a half months of rehearsal, inspired by various theatre, film & television
genres. The bandmemembers (Todd Amodeo, Reynard Q. Labaguis, Jeremy Voss and Kenny Wharton) worked alongside the actors creating
the music as the staging and characters also developed. As one audience member commented during the workshop performance, "the
music was the blood and the set of the show." Included below are several songs recorded from a live performance.
3 Western Sisters
Everyman
Shootout
Faust
Fu
Lady Macbeth Blues
St. Gordon: The Epilogue
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