Theatrical music - autonomy of participation.
One can imagine a theatre without a director, without a playwright, without
a stage designer, without audience but never without an actor. Yet, having respect for the solitude of the actor, trying not to lessen his attention, if we want to equip him with a companion helping to concentrate and increasing intuition, we will think first of all about music. Theatrical music is not a kind of illustration neither an additional musical text. Even if importuned by music or forced to undergo its mood, the actor does not create his role as variation on something. The music is not a text on anything whereas the actor is.
The music and the text are parallel to each other - it is an essential difference between theatrical music and music designed for the film. Even the ritual sources of these two kinds differ. I would attribute stillness to theatrical music, the kind of stillness typical for memory - without explanation. The film music I would rather call the pleasure of not remembering.
According to me, theatrical music presented out of the spectacle will prove its independence as well as autonomy of participation. It will confirm its individuality and unique character through musical mood and memory of the spectacle.
The festival of theatrical music in Jelenia Gora is the only presentation of this kind in the world. Theatrical music composed by outstanding composers usually lives as long as the spectacle is staged. The festival is a trial to save this music and give it back to the listener.
Zbigniew Szumski
Teatr Cinema
