F U L C R U M
Working in collaboration with Irish choreographer Dylan Quinn and German dance artist Jenny Ecke, Andy explores themes derived from their shared influences of the work of Samuel Beckett – in particular the short play Catastrophe. The result is FULCRUM – a piece that reflects on the nature of control in dominant culture, that magnifies the mundane and searches for meaning behind the most minimal of phrases.
As its name suggests, the music for FULCRUM pivots between dark soundscapes and crystalline layers of counterpoint. Andy uses these sonic environments to ‘zoom in’ on aspects of control / manipulation intimated in Catastrophe. Rhythms are formed from the tiniest glottal sounds that lie between spoken words or the act of writing Catastrophe text. Melodies are formed from subtle notes contained in whispers. At other points during the piece Andy uses inductive sound – where the music can be ‘felt’ before it is heard.
Andy also created two vocal pieces as part of the score. This is the first work he has sung in the counter tenor range since sustaining a nerve injury to his larynx in 2010 resulting in partial paralysis of his vocal cords.
Whilst still in its development stage, FULCRUM was selected for Re-presenting Ireland in its unfinished form in 2013. Premiered at the Happy Days international Samuel Beckett Festival in Enniskillen, the finished piece toured Ireland in 2014 and will be performed at the 2015 Dublin Dance Festival.
“Together with composer/singer Andy Garbi, they (Dylan Quinn and Jenny Ecke) have forged a strikingly instinctive three-way creative relationship, whose collaborative spirit results in an unfolding non-narrative that is hypnotic, seamless and completely integrated.
On a darkened stage, Garbi’s soundscape is heard in the distance like a gathering wind, building to gale force in sound and impact. The two dancers are present but invisible, lit briefly by blinding flashes of light like snapshots of motionless humanity – compare Beckett’s Protagonist, immobile, speechless and almost totally passive.
Garbi’s score mutates into a sequence of intriguing abstract sounds, haunting chants, terrifying bombardment effects and primeval groans and creaks, which seem to emanate from the very depths of the ground beneath us.”
Culture Northern Ireland