Musical in the “House of Extreme Musical Theatre”

Polazeći od pojma buke Jacquesa Attalija, u ovom se radu razmatra djelovanje “Kuće ekstremnog muzičkog kazališta” (KEMK), umjetničkog projekta Damira Bartola Indoša i Tanje Vrvilo koji je započeo s radom 2004. godine nakon Indoševa dugogodišnjeg sudjelovanja u avangardnoj kazališnoj skupini “Kugla glumište”. Nastupi KEMK-a uključuju više medija: kazališnu igru i ples, vizualne i glazbene elemente. Dosadašnja istraživanja KEMK-a uglavnom su teatrološka i usredotočuju se u prvome redu na kazališnu dimenziju njihova djelovanja. Stoga se u ovome radu po prvi put razmatraju i glazbene dimenzije njihova rada, uzimajući u obzir objavljenu građu, kao i neobjavljene rukopisne partiture, snimke, skice i ostale “radne” zapise u vlasništvu samih umjetnika. Autorova je teza da se glazbeno u KEMK-ovu djelovanju odvija kao pronalaženje glazbe i istodobno udaljavanje od nje, barem od one glazbe kakva se uobičajeno može čuti u koncertnim prostorima. Ovo se kretanje odvija paralelno s udaljavanjem od kazališta usredištenog na tekst, kao “izlaženje onkraj” dominirajućih glazbenih i kazališnih kodova. Medij KEMK-ova glazbenog izraza čine instrumenti zvani “šahtofoni”, nastali reciklažom odbačenih predmeta. U pojedinim slučajevima KEMK u svoje nastupe uključuje i “profesionalne” glazbenike, izlazeći u otvoreno polje u kojemu i sam postaje svojevrsnim “pop-bendom”, dok s druge strane grupe SexA ili Cul-de-Sac, koje sudjeluju u njihovim nastupima, ulaskom u sklop KEMK-a zadobivaju “kazališnu” komponentu. Autor naposljetku pokazuje kako i radiofonsko djelo "Kakve su stvari uistinu"? (2022), premda isključuje vizualnu komponentu, pokazuje sva bitna obilježja KEMK-ove umjetničke poetike.Starting from Jacques Attali's concept of noise, the author examines the activity of the “House of Extreme Music Theatre” (Kuća ekstremnog muzičkog kazališta, KEMK), an artistic project of Damir Bartol Indoš and Tanja Vrvilo, which started in 2004 after Indoš's long-term participation in the avant-garde theatre group “Kugla glumište”. Their performances include multiple media: theatrical play and dance, visual and musical elements. Since the previous research on KEMK was done mostly by the theatre scholars, the focus was primarily on the theatrical dimension of their activities. Therefore, in this paper, for the first time, the musical dimensions of their work are considered, taking into account the published material, as well as unpublished manuscript scores, recordings, sketches and other “working” material owned by the artists themselves. The author shows that the musical activity of KEMK takes place as a search for music and at the same time moving away from it, at least from the kind of music that can usually be heard in concert halls. This movement takes place in parallel with the move away from text-centered theater, as “going beyond” the dominant musical and theatrical codes. The medium of KEMK's musical expression are instruments called ”shachtophones” (šahtofoni), created by the artists themselves recycling discarded objects. In some cases, KEMK also includes “professional” musicians in its performances, going out into an open field where it itself becomes a kind of “pop band”, while on the other hand the groups SexA or Cul-de-Sac, which participate in their performances, by joining the KEMK, gain a “theatrical” component. The author finally shows that the radio work "What are Things Really Like?" ("Kakve su stvari uistinu?") (2022), although it excludes the visual component, shows all the essential features of KEMK's artistic poetics