Aaron Cassidy's new work extends his research into performative physicality, choreography and tablature notation, exploring extended vocal techniques developed through a separation of the physiological components of singing.
Air flow, tension and resistance of the vocal folds, mouth shape, tongue position, etc. become gesturally independent, with sounds emerging from the interaction of physical gestural models and constraints on available actions and intensities.
The work's title references Cassidy's continued interest in the work of Francis Bacon, and in particular its tendency to depict bodies and mouths in twisted, distended and smeared states which, despite their distortions, seem to reveal something fundamentally human.
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