Topics: Kagel and Dressur, traits of post-dramatic theatre and its relationship to experimental pieces, application of acting training, and lots and lots of questions.
0:00 Hello and welcome
2:10 Mark’s “lecture circuit”
4:29 Discussion of Mark’s work Aphasia
6:45 Mark discusses why "percussionists are the best”
11:30 Working with Steve Schick
14:47 "How did composition turn into a career?” and the Taco Bell plan
25:20 Music and spirituality
26:35 Mark’s top works to show to composition students
29:31 Oversaturation of performances
33:00 Publishing
34:40 Extramusical influences in Mark’s works
38:25 Straitjacket drawing movement
44:05 Bertold Brecht, post-dramatic theatre, lack of theatrical training in percussionists
57:15 Composers as “method actors”
59:01 Facebook question from Caleb Pickering “As a very creative and skilled improviser, do you think we should teach young college students improvisation?”
1:07:02 Mauricio Kagel’s Dressur
1:13:36 Dadaism
1:20:12 Composers’ ownership of their pieces
1:25:51 Facebook question from Brian Jeffs “As a composer, is there any difference in the satisfaction you may feel from a successful performance of a strictly notated piece versus an open-ended work?"
