The Klangkabarett is a musical that plunges its roots in the cabaret of the first half of the twentieth century and who, not content with "a continuing tradition," attempts to adapt his concerns about this first half of the XXI century and confronts his sounds and music.
From Berlin cabaret of the 30 one finds a sense of slip between two worlds: music theater but also of opera to freak show of the wonderful tragically ugly. Remains, also a social satire that has the desire never to "clarify" it plays on the ambiguity of the characters, feelings. The misery we dress in satin.
Today, the sound is at the service of expression and theatricality. The electronics can handle the stamps as reminiscent of old classical recordings but also make hybrid sounds, pure, dirty, intruders. The instruments use the game modes derived from post-electronic music, especially the voice takes many forms (singing, traditional folk songs, rock, spoken voice, sounds ...).
Klangkabarett The party is the work of Kurt Weill - In collaboration with Brecht especially. He borrowed a few excerpts in "Music Hall" U.S. time of prohibition. It has also inspired silent film by Tod Browning, circus, John Waters and Bob Fosse Cabaret . But its substance is essentially a result of his own compositions.
From Berlin cabaret of the 30 one finds a sense of slip between two worlds: music theater but also of opera to freak show of the wonderful tragically ugly. Remains, also a social satire that has the desire never to "clarify" it plays on the ambiguity of the characters, feelings. The misery we dress in satin.
Today, the sound is at the service of expression and theatricality. The electronics can handle the stamps as reminiscent of old classical recordings but also make hybrid sounds, pure, dirty, intruders. The instruments use the game modes derived from post-electronic music, especially the voice takes many forms (singing, traditional folk songs, rock, spoken voice, sounds ...).
Klangkabarett The party is the work of Kurt Weill - In collaboration with Brecht especially. He borrowed a few excerpts in "Music Hall" U.S. time of prohibition. It has also inspired silent film by Tod Browning, circus, John Waters and Bob Fosse Cabaret . But its substance is essentially a result of his own compositions.
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