Choreography in R. Murray Schafer's The Crown of Ariadne—Technical or Theatrical?

Abstract

The Crown of Ariadne, R. Murray Schafer's work for solo harp positioned within a large percussion set up, has become a gem of the solo harpist's contemporary repertoire. However, it is one that still brings up multiple questions with regards to modern performance practice for the twenty-first century harpist, as both a theatrical and a technical work. The aim of this article is to explore the performance practices associated with The Crown of Ariadne, especially the purpose and implications of the choreography. Does the written-out choreography serve a theatrical purpose, or is it used to illustrate the desired instrumental technique? If the choreography is purely technical, what are the implications of a performer not from the Salzedo tradition performing the work, and do the motions therefore become contrived or unnecessary? If it is theatrical, should the harpist approach learning the work as an actor, as well as a musician? The discussion will be divided into two main sections: the technique and performance styles of different harpists, and suggestions on how to prepare this work as an actor. My research has stemmed from comparing the written gestures to those found in dance notation, a series of interviews with harpists that have both performed and taught the work, discussions on the Carlos Salzedo and Marcel Grandjany traditions, and excerpts from Salzedo's literature. In addition, I will discuss how to approach this work as an actor and performer by analysing different acting techniques, discussing the role of The Crown of Ariadne in Schafer's larger work Partia V: The Crown of Ariadne, and examining the Patria cycle with regards to Schafer's role in the environmental theatre movement.