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R. Murray Schafer (b. 1933, Sarnia, Ontario, Canada) is a seminal voice in Canadian music, due not only to the often controversial, but widespread international reception of his extensive spectrum of works, but also, due to his distinct approach to composition. Schafer’s Patria cycle (1966- ) employs unorthodox performance locales and contexts, a confluence of art forms and sensory experiences, and demands active audience participation, defining Patria as one of the most ambitious stage works. In this dissertation I explore two essential frameworks that are seminal in the discussion of Patria; firstly Schafer’s compositional processes, broadly defined, that come into play in Patria, and secondly, the performative and theatrical aspects in Patria. Through four ethnographic case studies, I suggest that the use of alternative performance spaces, participatory performance, and ritual performance foster an artistic and social environment that has the potential, if participants choose to fully engage in the experience, to alter participants’ perception of the importance of the environment, community, spirituality, and artistic and sensorial experience in contemporary society. In Chapter 1 I provide a discussion of Schafer’s concepts of soundscape and the theatre of confluence and how they are applied in Patria, and outline my research methodology, including my fieldwork experiences from working onsite during Patria productions from 2003 through 2007. In Chapter 2 I examine and contextualize four aspects of performance that reoccur throughout Patria and are specifically detailed in my four case studies: alternative performance space, participatory experience, and ritual performance. My four case studies, Chapter 3 The Princes of the Stars, Chapter 4 Asterion, Chapter 5 The Enchanted Forest, and Chapter 6 And Wolf Shall Inherit the Moon, argue that my participatory approach to Patria comprehensively illustrates how site, work, environment, and community interact, forming a distinctive performance experience. |
