Friday, December 18, 2009
Presented in New York as Stifters Dinge.
Here an interview with Goebbles taken from his site:
Is art a language for you?
HG: Much more than that, because it affects the register of the unconscious, articulate speech has no particular hold: the same applies to poetry, music, visual, as well as the Performing Arts.
Do you establish "a conversation" with your prospective audience?
HG: I think it's the opposite: I have -especially for Stifters Dinge - the idea that I just bring the listener/viewer to Sprechen (talk, language) . I still recall this one response from the audience after a performance: "For once nobody is telling me what to think..."
Many people "fear" contemporary music. Can you understand that? What do you do?
HG: Me too! No, seriously. There is some New Music that disturbs, hurts, or at least wants to shake up people with a pedagogical purpose. We shouldn't fear it beforehand, although some will not give it a second chance. My relationship with the audience is totally different: I don't assume I have to say or teach anything beforehand. Having one hundred, five hundred or a thousand listeners/viewers is enough a rich experience for me as a composer (or as the team that creates a musical/theater production). My compositions/pieces build spaces for the imagination; they "wish for" the ears and eyes of the audience -not to be distorted by my own perspective.
In the program of the festival one reads: Stifters Dinge: A piano piece without pianist, a performance without actors. How does it work?
HG: Come, and check it out yourself. Theater is not just there to present great actors, musicians and dancers. It is also (and especially for me) a way to deal with something "else" - something that is not just “we.” Theater reduces all subjects to psychological conflicts. But there are larger issues than just the dialogue between two characters on stage - for example, our engagement with nature ...
What's the difference between Stifters Dinge ("The Experience of Things") and "other things?"
HG: One sees the word "thing" on almost every page of novels and short stories. And "thing" doesn't apply only to subjects and objects. By "thing" one describes all that is unknown, that demands respect and attention: including natural disasters, people of other cultures, etc.
Since the early 90's you have been a frequent guest at the Dresden Festival of Contemporary Music. This year, one of your pieces will be performed for the first time in the historic Festspielhaus Hellerau. What does this mean to you?
HG: I am really excited about it. This particular piece is a new experiment, right in the tradition of the Hellerau, since it uses the openness to take up the space to react to it.