Deutscher Tanzpreis / Dachverband Tanz Deutschland
Three jingles with different specifications: one for the Gala-Event of “Deutscher Tanzpreis 2022”, one for radio-promotion of the latter and one for variable purposes e.g. a soundtrack for video-documentation. The aim was to develope a sonic idée fix which embodies the wide aesthetic spectrum of “Deutscher Tanzpreis” from traditional to modern perspectives on dance. The result is a festive symphonic motive with pulsating electronic sounds underneath, garnished with some high-frequency sparkles here and then.
Mein Freund, der Baum
director: Jeffrey Döring
online documentary film-festival #coronacreative
Premiered during the online documentary film-festival #coronacreative
of Mitteldeutscher Rundfunk.
I improvised on a Access Virus A synthesizer to translate the language of the plants into sounds which are perceptable for the human ear. Starting of with the movements of the animations, I edited my improvisations in Ableton Live 10 and added a few juicy sound-bubbles using the DX7 plugin by Arturia. The abstract nocturnal sound-scape of the plants draw its inspiration from the fact, that communication doesn’t necessarily need words but can happen on a bio-chemical level, too.
director/camera/cut: Jeffrey Döring
motion-design: Iris Schwarz
illustration: Mauricio Sosa Noreña
sounddesign: Felix Nagl
set-up: Macbook Pro, Ableton Live 10, Access Virus A ________________________________________________________________________________________________________________________________________
director: Jeffrey Döring - Deutsches Gehörlosentheater
Premiered at Carl-Orff-Saal of Gasteig in Munich in 6.1 Surround-Sound (Meyer-Sound)
set-up: Macbook Pro, DANTE Virtual-Soundcard, Akai APC Mini, Ableton Live 10
With "Die Hauptsache", the Deutsche Gehörlosentheater goes into hitherto unknown fields. For the first time not only deaf performers are on stage, but also hearing actors. While the deaf actors communicate in German Sign Language on stage, the others use the German spoken language. The gap between languages, misunderstanding and lack of understanding thus becomes the central pivot of the production.
This is exactly where the sound-design in "Die Hauptsache" comes in.
Low and subsonar frequencies operate as the common physical denominator in the sound perception of hearing as well as deaf people. While deaf people feel it as vibrations in their own body, for hearing people this physical experience is only a partial aspect of the perception of bass. With this discrepancy, the sound design plays out, confronting the listening audience with high frequencies at the other end of the spectrum, but placing a clear focus on the exposure of physically perceptible bass in the form of abstract pulsations, drones, pads and rhythmic patterns, all the way to the danceable 4 / 4 beat.
While two languages collide and merge on stage, the sound design can be experienced as an expedition to the edges of the audible, which in many moments of the piece come close together. ________________________________________________________________________________________________________________________________________
paused/boy with thorn
JJKropp (Video: Julia Schäfer, Susanne Brendel; Sound: Felix Nagl)
A/V-performance @ Fuchsbau-Festival
modified found-footage (A/V) from youtube, samples of worn out tape and vinyl
set-up: Macbook Pro, Ableton Live 10, Korg Volca Beats, Akai APC Mini
Here the two levels of video and sound are operated and reworked separately and in real time. The performers react to each other visually, as well as auditory, creating moments of convergence and alienation.
In "Brennender Schnee", the audience is put in the position of highly sensitive people.
Acoustic, olfactory and visual stimuli are doubled or artificially generated through different media.
As a result, one experiences first-hand how the sensory perception of a highly sensitive person may be.
On the loose basis of the story "Undine" by Fouqué and the eponymous opera by E.T.A. Hoffmann, two actors and two opera singers guide the audience through the perception of highly sensitive people, including all conflicts with their environment. The performance was preceded by a small exhibition in which the later props of the production could be experienced as interactive objects. The objects themselves stimulated the sense of sight, touch, hearing, smell or taste and were later charged with their very own story. Vocal parts accompanied by electronic sounds and noise alternated with performative processes as well as biographical and fictional narrative texts. The project thus wanted to challenge not only the sensory perception of the audience, but also their behavioral habits in the theater. The sound-design of "Brennender Schnee" uses the method of databending, which describes the process of manipulating a media file of a certain format, using software designed to edit files of another format. As a Analogon to the high sensitiv perception of acoustic stimuli, the distorted-databent audiofiles come with a harsh and glitchy sound-quality, which serves as a Leitmotiv for all audible elements throughout the piece.
work on workout
fashion: Friederike Traub, video: Julia Schäfer, sound: Felix Nagl, makeup: Omer Asaf
actors: Lotten Lindenborn, Max Gugenhahn
promotion-video for the new outdoor-collection by Friederike Traub
and a hommage to the iconic TV-painter Bob Ross.
samples took from Bob Ross show “The joy of painting” + some TR-808