Above, Joseph plays cards with the Devil in the spectacularly immersive presentation of Stravinsky’s The Soldier’s Tale recently performed at the University of British Columbia.
Earlier this year a student at the university, Job Wan, contacted me to ask whether I might be persuaded to allow the use of some of my images for a performance of The Soldier’s Tale at the UBC’s School of Music. The lineup of musicians would be from UBC and the Vancouver Symphony Orchestra.
I had little idea when Jacob enquired, what he had in mind. I thought maybe a few projected images, as I often get asked permissions for relatively simple presentations to accompany performances of TST. But later the conductor Robert Taylor joined in the conversations, and I began to get some idea of the ambition of Team UBC. To begin with I provided them with the edit I’d made, together with Pete Telfer and Daniel Broncano, for last year’s performance at Musica en Segura in Andalusia, which included quite a lot of animation. Jacob immediately got to work, using not only the material I’d sent, but other Soldier’s Tale imagery I’d produced over the years that he’d tracked down online, including paintings on the theme. In an extraordinary creative act, he re-tooled the material into an immersive presentation, using a wrap-around screen constructed from LED panels to fill the stage with imagery. For the first time my paintings and animations for The Soldier’s Tale would be not projected onto a screen above the musicians, but wrapped around them.
Back in 2013 I’d had very little time to draw playing-cards for the animated sequence of the game between Joseph and the Devil, and made only a handful of them. But Jacob has cleverly made a little go a long way by duplicating images so that the stage transforms into a storm of cards. One day I must try designing a full set. There is something entirely pleasing in the underlying design principle of the four suits.