SPEAK BEFORE YOU THINK
SPEAK BEFORE YOU THINK (after Laughter Studies by Louis d’Heudieres) Matthew Grouse (2022)
For two performers, video and audience participation
Performer 1 = Voice (any type)
Performer 2 = Any instrument
Additional off stage performer / sound engineer should trigger the beginning of sections (operating the Max patch).
General notes:
The piece relies on audience participation (guided by projected video) to generate much of the material that is fed to the performers’ headphones The performers are then asked to respond in a variety of ways. The majority of the fixed audio that is played through speakers into the room is also fed to the performer’s headphones for the benefit of orientation.
Equipment list:
Laptop running Max 8 or newer (all instructions for patch operation are in the patch)
Audio interface (minimum 3 ins & 4 outs)
PA (Mixer + stereo pair of speakers)
2x closed back headphones (1 per on stage performer)
Wireless transmitter and receivers (x2) for on stage performers’ click tracks Projector + screen
Mics:
Vocal microphone for performer 1
Appropriate mic for instrument chosen by performer 2
Wireless transmitter and receiver + wireless vocal mic for audience participation
Stereo pair of small diaphragm condensers for audience participation
ROUTING:
Static pair of stereo condenser mics (pointed at audience) > inputs 1&2 of interface
Wireless vocal mic > input 3 of audio interface
Outputs 1&2 of interface > FOH PA
Output 3 of interface > ch 1 wireless transmitter > receiver 1 > performer 1 headphones
Output 4 interface > ch 2 wireless transmitter > receiver 2 > performer 2 headphones
STAGE PLAN:
STAGE POSITION 2: Performer 1 OR 2 (depending on the section) with wireless vocal mic moving around the audience area, holding mic to audience member’s mouths
PERFORMER 1 (vox)
SCREEN
PERFORMER 2 (instr.)
STAGE POSITION 1: On stage performers face away from the audience (towards direction of the screen)
Stereo pair of condenser mics pointed towards audience
AUDIENCE AREA
Instructions:
Section 1 (0’00” 3’39”) Video + performers mimicking audioscore
STAGING: performers sit wearing headphones, facing away from the audience and perform into their respective microphones
. 4 beat click count in signalling the start of the piece
An audioscore is fed into the headphones of the performers, which they have to, in real time, mimic as accurately as possible. In their own personal interpretation (but still as accurately as possible), the performer should try to recreate every sound they hear simultaneously to its occurrence. For performer 1, this should be done only using vocalised sound (any sound that is eventually projected through the mouth)
OR for performer 2, only using their instrument. In the case of wind instruments it is permissible to sparingly use speech, providing it is transmitted through the instrument.
Don’t exclusively pay attention to words, try to pay attention to interpreting as many sonic elements as possible (e.g. pitch, rhythm, timbre, background noise, dynamics). The delay between the event and your mimicry should be as short as possible, almost to the point of pre empting the next event.
Section 1 ends with “Stop imitating”. After this point, the speech you hear is the same audio that the audience hear. It is only there for timing guidance and should not be mimicked.
Section 2 (3’39”-5’23”) Fixed-media instructions + performer 1 demonstrations
STAGING: Performer 2 remains perfectly still (no change from the position in section 1). Performer 1 moves through various stage positions outlined below
Performer 1 gets their timings from the monologue instructions that the audience also hear. Other rhythmic timings are given as audioscore and elaborated below
Performer 1 instructions (timed simultaneously to the underlined word):
. Slowly turn to face audience at outset of the section and stand (smiling artificially)
. Point at self (“performer with a microphone”)
. Return arm to neutral (“on the screen”)
. Stand up abruptly without turning around (“hesitation as possible”
. Slowly turn around maintaining an unsettling, artificial smile (“the whole audience” *pause*)
. Walk forward briskly, take mic and then freeze (“not to hesitate”)
. Gesture to screen (“like so” *pause*
. Return to face audience (“like so” *pause* *beep ends*)
. Gesture to screen (“like so” *pause*
. Return to face audience (“like so” *pause* *beep ends*)
. Point at self (the performer holding the microphone)
. Gesture microphone towards audience in one smooth sweep (will quickly)
. Gesture to screen (“each instance of” *pause*)
. Thumbs down + puppy dog sadness (“if you change your mind”)
. Back to creepy smile and shaking head slowly (as if saying no) (“any less of you, we won’t”)
. Stop shaking head (“in the room” *pause*)
Thumbs up (“It’s all completely fine.”)
. Return hands to neutral (“It’s all completely fine.” *pause*)
. Point microphone at screen (“before we begin *beep*)
. Return to forward facing (immediately after next *beep*)
. Welcoming hand gesture towards audience (“now it’s your turn”)
Last section of sentence: “thank you again for joining us on this adventure.”
Section 3 (5’23”-8’25”) Audience describe a series of images, performer 2 improvises responses
STAGING: performer 2 plays instrument, performer 1 takes microphone round to individual audience members allowing them to respond to the on screen stimuli
Performer 1:
. Maintain a creepy, artificial smile and friendly demeanour throughout . Take the microphone up to the closest audience member, and point it to their mouth (not TOO intrusively). The ‘STOP’ beep signals you to move on to the next audience member.
Performer 2:
Similarly to section 1, this section requires razor sharp reactions. The audience descriptions of the images on screen provide your audioscore. Improvise sonic responses to the audience’s descriptions with as little hesitation as possible using only your instrument (as close to concurrently as possible).
Possible approaches include: 1.) imitating the sound(s) of the thing / scenario that is being described 2.) improvising music that you feel compliments or accompanies the mood/atmosphere of that which the audience describes, akin to a live film score. Ideally a combination of these two approaches should be adopted.
Latching on and adapting your improvisation to reflect any new information they describe is key! Look for musical analogies to descriptive words (e.g. if they describe something small, a performer may choose to play at a quiet dynamic and/or with short articulations). Don’t shy away from reference or clichés. Musical quotation is encouraged).
You should leave as few gaps in your playing as possible and continue improvising to a certain stimuli until the audience member starts describing a new image/prompt. Stop playing immediately when you hear each ‘STOP’ beep. The next audience description will be preceded by a ‘START’ beep.
Interlude (ca.30”) Performers switch places while a collage of recordings of the audience from section 3 plays back
Performer 1: After the final ‘STOP’ beep of section 3 you will hear “swap positions”, which signals you to put the microphone on the floor next to the closest audience member who has not yet participated, and immediately return to your chair, ready to perform in the next section.
Performer 2: After the final ‘STOP’ beep of section 3 you will hear “swap positions”, which signals you to put down your instrument and stand up and walk to the front of the stage. You should inhabit and maintain an over the top facial expression and mood somewhere between disdain, fury and disinterest. Pick up the microphone on the floor ready to take it up to the closest audience member, and point it to their mouth (not TOO intrusively).
Section 4 (9’22” 12’23”) Audience describe a series of images, performer 1 improvises responses
This section is the same as section 3 but the performer’s roles are reversed. Additional performer / sound engineer should trigger the beginning of this section (the interlude is created at an unending length to leave room for the seating changeover)
Additional note for performer 1: Your improvised responses may include speech but try to deploy these moments sparingly.
Interlude (ca.30”) Performers switch places while a collage of recordings of the audience from section 4 plays back
Performer 1: After the final ‘STOP’ beep of section 4 you will hear “swap positions”, which signals you to stand up and walk to the front of the stage. You should inhabit and maintain the creepy, artificial smile and friendliness throughout. Pick up the microphone on the floor ready to take it up to the closest audience member, and point it to their mouth (not TOO intrusively).
Performer 2: After the final ‘STOP’ beep of section 4 you will hear “swap positions”, which signals you to put the microphone and pedal on the floor next to the closest audience member who has not yet participated, and immediately return to your chair, ready to perform in the next section.
Section 5 (12’53” 15’30”) Audience performs vocal responses to on screen prompts. When they are finished, performer 2 mimics an electronically processed version of the aforementioned response
12’53” 13’25” Example clip for the audience
Performer 1:
Instructions during example clip for the audience:
. Turn microphone towards screen (“the next material” *pause*) Welcoming gesture to audience (“now it’s your turn”)
. Return to normal (“Thank you”)
Rest of section:
. Maintain a creepy, artificial smile and friendliness throughout
. Take the microphone up to the closest audience member, and point it to their mouth (not TOO intrusively). The ‘STOP’ beep signals you to move on to the next audience member.
Performer 2:
The audience performs/ imitates a response to an on screen prompt. This is recorded into a buffer and not passed directly into your headphones. Remain silent during their performances. Preceded by a ‘START’ beep, the response is then processed in various ways and played into your headphones at which point you should use your instrument to mimic the incoming sounds in the exact same way as section 1. Sometimes audio and noise interjections are sent to your headphones, interrupting the flow of the audience’s response. You should mimic these interruptions in the same way as the rest of the sonic information.
Stop playing each time you hear a ‘STOP’ beep in your headphones
Interlude (ca.30”) Performers switch places while a collage of recordings of the audience from section 5 plays back
Performer 1: After the final ‘STOP’ beep of section 5 you will hear “swap positions”, which signals you to put the microphone on the floor next to the closest audience member who has not yet participated, and immediately return to your chair, ready to perform in the next section.
Performer 2: After the final ‘STOP’ beep of section 5 you will hear “swap positions”, which signals you to put down your instrument, stand up and walk to the front of the stage. You should inhabit and maintain an over the top facial expression and mood somewhere between disdain, fury and disinterest. Pick up the microphone on
the floor ready to take it up to the closest audience member, and point it to their mouth (not TOO intrusively).
Section 6 (16’23” 18’20”) Audience performs vocal responses to on screen prompts. When they are finished, performer 1 mimics an electronically processed version of the aforementioned response
This section is the same as section 5 but the performer’s roles are reversed. Additional performer / sound engineer should trigger the beginning of this section (the interlude is left at an unending length to leave room for the seating changeover)
Interlude (ca.30”) Performer 2 returns to chair while a collage of recordings of the audience from section 6 plays back. Performer 1 stays seated
Performer 1: Stay perfectly still
Performer 2: After the final ‘STOP’ beep of section 5 you will hear “swap positions”, which signals you to immediately return to your chair, ready to perform in the next section. Bring the microphone with you.
Section 7 (18’57”-19’56”) Whole audience performs vocal responses to on-screen prompts. Both performers improvise ‘encouragement’ or ‘heckling’ at the audience respectively.
Whole audience improvises humming (responding to on screen prompt). They should crescendo through the section.
Additional performer / sound engineer should trigger the beginning of this section
Performer 1:
Each time you’re cued in your audioscore with “START ENCOURAGEMENT”, begin to improvise over the top positive encouragement for the audience’s humming crescendo (you will be given a technique / dynamic to perform your encouragement e.g. “whispering”).
Stop each time you hear “STOP”.
At: 20’12” you receive an audio prompt to say “You saw what the Elf of Encouragement said. You can do it.” Prompt (“Elf remark”)
Performer 2:
Each time you’re cued in your audioscore with “START HECKLING”, begin to improvise on your instrument something that to you evokes disgust and disdain for the audience / heckling or mocking their humming crescendo (you will be given a dynamic to perform your improvisation e.g. “mezzo piano”).
Stop each time you hear “STOP”.
Interlude (ca.15”) Both performers turn chairs around to face audience while a slowed-down collage of recordings of the audience from section 7 plays back.
The slowed down collage keeps playing throughout the section
Performer 1:
You will hear “turn chair to face audience adoring demeanour”. Turn chair around bringing the microphone with you. Maintain your artificially adoring demeanour
Performer 2:
You will hear “turn chair to face audience disdainful demeanour”. Turn chair around bringing your instrument with you. Maintain your disdainful demeanour staring straight into the audience.
Section 8 (20’07”-22’32”) Whole audience mimics physical gestures on-screen. Performers mimicking audioscore as in first section
Performer 1:
Maintain your artificially adoring demeanour, imitate the audioscore in the exact same fashion as section 1.
When cued, start clapping into the audience as if trying to get them to acknowledge themselves as performers. (cue: “clap into audience in 3,2,1,GO”) Stop clapping when you notice the audience stop bowing
When cued slowly wave back at the audience (slow wave at audience with sad face: 3,2,1,GO)
Creepy smile at audience + point both fingers when cued (smile and point 3,2,1,GO)
When you hear “3,2,1,END” abruptly stop, return face to neutral and get up to play the next piece in the programme as if nothing has happened
Performer 2:
Maintain your disdainful demeanour, imitate the audioscore in the exact same fashion as section 1
When cued, give and hold out the middle finger to the audience with one hand while maintaining the grip of your instrument with the other (middle finger at audience 3,2,1,GO)
When you hear “3,2,1,END” abruptly stop, return face to neutral, return the hand to neutral and get up to play the next piece in the programme as if nothing has happened
Duration: ca.22’
First version premiered by Matthew Grouse and Joss Smith in Copenhagen (Metronomen, Frederiksberg) 20.06.2022. Written for Current Resonance’s ‘Double Duos’ programme.