We are very interested in featuring you on our site and I wanted to set up a time to talk about a partnership. Please let me know what time works best for your schedule.
09.13.11Rocco Di Pietro
Dear Christian,is it possible to send you some work with a proposal? thanks.
Do you have a program for young children?
09.29.10Randall and Janet Grossman
If you have an email list that you use to inform interested people about upcoming BSPE events / performances, would you please add me (GrossmaR@verizon.net) and Janet (SeaTurtleJ@AOL.com) to that list? Thanks!
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I am interested in talking to you about the possibility of working with students at Tapestry Charter School. My school email is: firstname.lastname@example.org, work # 332.0754 ext. 126.
I look forward to hearing from you.
I am a board member of the SUNY Fredonia Performing Arts Company. We are interested to know if your group gives workshops and is interested in visiting our campus.
The Performing Arts Company would be more than happy to have you and we would be willing to pay for all expenses. If you are interested, please contact me to discuss details.
I had the pleasure of meeting you once outside a staged reading you did for ART and I admired your performance. Now, after stumbling onto your group's website while I was meandering online, I am even more intensely interested in all that goes into one of these performances. I checked the calendar link, but didn't see any upcoming shows. Are there any in the works that I may be able to attend in the near future? Your response is appreciated in advance!
I saw SoundPainters do Sirens at Bloomsday in Buffalo last June 16. It was fantastic!!!!!!!!!!!!!!!! Is it available anywhere?
My experience with soundpainting has been limited to free time during a six-week theater program at Vassar College I attended this past summer, but it profoundly affected my perception of spontaneous performance art and experimental theater. In other words, it rocked beyond all hell. I miss it a lot. My one regret after exploring the beauty of soundpainting is my inability to share it with others because of my lack of license to teach the art.
I am an acting major at SUNY Fredonia, as my e-mail address suggests, and I wish to inquire as to whether or not the possibility might be open for a member (or more, better yet!) of your company might be willing to visit for a workshop day with some students from my theater department.
I am sure that we have an enthusiastic group that would really love and appreciate the art that you have to share. I have not as yet made any arrangements with our student-run performing arts company board members, but I'm sure if you had any interest in such an event, we could provide some payment in return for your generosity.
Thank you so much for your consideration, keep up the painting!!
Yours, Marisa Caruso
Dear members of the BSPE,My name is Sakina Abdou, I’m a musician and a teacher. As part of my studies at the CEFEDEM in Lille, France, I am preparing a musical culture presentation on directed improvisation, conducting, and Sount Painting, that I will present in June.To enrich my research, I have created a questionnaire for those who practice Sound Painting regularly or infrequently within an ensemble (for pedagogical purposes or not).Please consider responding to the questions that you find interesting and return your responses to me. I'm interested in every point of view of a project so If you could please send this e mail to the members of yours ensembles, it will be verry nice.Thank you for taking the time to complete this questionnaire – I am very grateful for your assistance.Cordially,Sakina Abdou.You practice directed improvisation or Sound Painting within an ensemble:1. How did you learn about directed improvisation and in what context were you brought to practice it?2. What were and are your artistic influences within this ensemble?3. In your opinion, does this practice relate more to improvisation or to written music?4. What connections do you see between these practices and the other works of your ensemble?5. In your opinion, does the physical gesture result from an artistic expression or does it become artistic because of the gesture?6. How do you relate yourself to the element of randomness in the gesture? Do you perceive this practice as an act of accidental play or as a control of detail?7. What is the importance of the artistic result in relation to the process of creation?8. How do you perceive the evolution of this ensemble over the short term and the long term? What are your objectives?9. What is your role and that of the other musicians in this evolution?10. For you, is it a discipline? A method? A language? A tool?11. What do you think of the interdisciplinary possibilities that are offered by this practice? For you, is this an issue, an objective? For those who do not use interdisciplinarity (visual arts, theater, etc), please replace the word “media” by “musicians”.12. How do different media cross paths in this practice? What are the divergences and the connections that are brought about?13. Do you attempt to establish a dialogue between them, to bring about the development of parallel discourses, or to construct a singular and same discourse?14. Do you envision them in the same way or do you attempt to bring attention to their specificities?15. In your opinion, are there gestures that are inappropriate, some that have not yet been created, some that should be revisited? Do you have the possibility of changing them? 16. In your opinion, is this a practice that should be universally codified and institutionalized? 17. What difference do you see between directed improvisation, conducting, and sound painting? 18. How do you envision the spacing of the gestures in relation to the orchestra? 19. How would articulate the spaces/roles of the conductor, the musicians, and the audience?20. Is there “direction” or “theatricality” involved? 21. For you, what are the pedagogical advantages and obstacles of this practice?
Trying to get back in touch with my long lost friend Susan.
Great show! Thanks for all of the great work. You're saving Western civilisation...
Love the mermaid!
Do you ever come to elementary schools? I would be interested in having you come, since we do so much with sign language here in the kindergarten... but it would have to be MINUS the scary screams! They'd be terrified.
Let me know - thanks - Molly.