7.4 The visual expression

In the work associated with this performance, the visual form has been discussed. The technical setup and my appearance in my different roles as storyteller, singer, soundsinger and soundmaker, are regarded as being necessary parts of the performance; my instruments and what I do. Adjustments were made in the technical setup after the two first rounds: from being gathered on a table in front of me, to being divided into two “units” with an opening in the middle, in order to create an open space between myself and the audience. (This was a great improvement which I have also included my other musical settings). In addition, I could, for example, have used videos or slides, abstracts or concrete, in my performance. I find that my choice of not bringing in another visual element is supported by some of the findings in my joint research with Bergsland: the audience, especially the listeners that were blindfolded, have reported having very clear and strong “inner pictures” triggered as a response to the music and text. I wanted the listeners to identify through the awakening of their own references and experiences in relation to the text. Introducing another visual element could possibly disturb this process. I also had in mind the simplicity of traditional storytelling: one person, sitting on a chair, telling a story. I wanted to recreate this setting in my performance (as far as possible with my instrumental setup). This choice also seems to be supported by the findings, that my presence and the feeling of nearness are very often reported as being connected to the visual impression of my face, especially my eyes, when I am telling the story.

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