[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:28.08,0:00:33.84,Default,,0000,0000,0000,,Susan Philipsz: Living in Berlin, the history \Nis so raw and you still feel it.
Dialogue: 0,0:00:34.56,0:00:37.20,Default,,0000,0000,0000,,I think it's that it doesn't \Nwant to hide its past.
Dialogue: 0,0:00:42.48,0:00:44.04,Default,,0000,0000,0000,,When I first came to Berlin,
Dialogue: 0,0:00:44.76,0:00:46.92,Default,,0000,0000,0000,,this was one of the first \Nplaces I came to actually.
Dialogue: 0,0:00:48.18,0:00:54.48,Default,,0000,0000,0000,,Train stations, they're very evocative \Nplaces, places of departure and separation.
Dialogue: 0,0:00:55.56,0:00:59.34,Default,,0000,0000,0000,,That has a melancholy feel \Nabout it, I think, the station.
Dialogue: 0,0:01:00.66,0:01:01.68,Default,,0000,0000,0000,,I love that sound.
Dialogue: 0,0:01:08.64,0:01:12.48,Default,,0000,0000,0000,,I'm interested in the emotive and \Npsychological effects of sound.
Dialogue: 0,0:01:14.94,0:01:20.46,Default,,0000,0000,0000,,Often I'm just looking for a place that has an \Ninteresting acoustic or architecture history.
Dialogue: 0,0:01:23.70,0:01:28.68,Default,,0000,0000,0000,,Like in Kassel, for instance, it was the \Natmosphere of the train station that drew me.
Dialogue: 0,0:01:32.22,0:01:35.58,Default,,0000,0000,0000,,“Study for Strings” started from \Nstanding at the platform's end
Dialogue: 0,0:01:35.58,0:01:38.28,Default,,0000,0000,0000,,and thinking about sound coming from a distance.
Dialogue: 0,0:01:46.20,0:01:52.20,Default,,0000,0000,0000,,I discovered that Kassel is where they made \Nmajor deportations of the Jews to Theresienstadt,
Dialogue: 0,0:01:52.20,0:01:56.82,Default,,0000,0000,0000,,which was a concentration camp where \Nthey sent all the creative people.
Dialogue: 0,0:01:59.16,0:02:03.72,Default,,0000,0000,0000,,I started thinking about Pavel Haas \Nwho'd composed this composition,
Dialogue: 0,0:02:03.72,0:02:06.78,Default,,0000,0000,0000,,“Study for Strings,” while \Nhe was interned in the camp.
Dialogue: 0,0:02:15.42,0:02:18.54,Default,,0000,0000,0000,,It was to feature in this \Npropaganda movie for the Red Cross.
Dialogue: 0,0:02:19.92,0:02:23.40,Default,,0000,0000,0000,,They wanted to pretend that \Neverything was great in the camp.
Dialogue: 0,0:02:26.58,0:02:31.98,Default,,0000,0000,0000,,It was really tragic because it was straight after \Nit was shot, they were all sent to Auschwitz.
Dialogue: 0,0:02:35.04,0:02:38.58,Default,,0000,0000,0000,,In the original composition, \Nit was a 24-piece orchestra.
Dialogue: 0,0:02:40.32,0:02:44.04,Default,,0000,0000,0000,,What I decided to do was to \Nrecord just two of the parts.
Dialogue: 0,0:02:45.66,0:02:50.40,Default,,0000,0000,0000,,Silence really makes you think about the absence \Nof the other performers who would've been killed.
Dialogue: 0,0:03:11.64,0:03:18.60,Default,,0000,0000,0000,,
Dialogue: 0,0:03:36.66,0:03:40.02,Default,,0000,0000,0000,,Eoghan McTigue: There was never a point where we were \Nworking together as a collective.
Dialogue: 0,0:03:40.02,0:03:44.10,Default,,0000,0000,0000,,It just seemed to develop out \Nof our shared life together.
Dialogue: 0,0:03:46.38,0:03:50.34,Default,,0000,0000,0000,,After we moved to Berlin, it became \Nclear that Susan was getting very busy.
Dialogue: 0,0:03:50.34,0:03:53.16,Default,,0000,0000,0000,,I started to manage some of Susan's productions.
Dialogue: 0,0:03:54.54,0:03:59.40,Default,,0000,0000,0000,,Susan is much more intuitive and can determine \Nthe tone or the atmosphere of a space.
Dialogue: 0,0:04:07.14,0:04:09.78,Default,,0000,0000,0000,,Susan has a very good understanding of space,
Dialogue: 0,0:04:11.46,0:04:15.90,Default,,0000,0000,0000,,when a space is layered and \Nwhen the meaning is just there,
Dialogue: 0,0:04:15.90,0:04:16.98,Default,,0000,0000,0000,,just below the surface,
Dialogue: 0,0:04:19.62,0:04:23.16,Default,,0000,0000,0000,,and then just doing something very \Nminimal to let it reveal itself.
Dialogue: 0,0:04:42.90,0:04:48.30,Default,,0000,0000,0000,,Susan Philipsz: I was invited to make a work that \Nmarks the 80th anniversary of the
Dialogue: 0,0:04:48.30,0:04:53.82,Default,,0000,0000,0000,,annexation of Austria to Germany as \Nthat happened after Hitler's speech.
Dialogue: 0,0:04:55.20,0:05:00.00,Default,,0000,0000,0000,,It's not something that they're proud of, \Nbut they want to acknowledge their part in it.
Dialogue: 0,0:05:14.28,0:05:18.84,Default,,0000,0000,0000,,With each new project in public \Nspace, I make a sound test just
Dialogue: 0,0:05:18.84,0:05:22.50,Default,,0000,0000,0000,,to get an idea of how the sound \Nwould be in this particular space
Dialogue: 0,0:05:22.50,0:05:25.08,Default,,0000,0000,0000,,because sometimes it can do \Nreally unpredictable things.
Dialogue: 0,0:05:45.34,0:05:51.96,Default,,0000,0000,0000,,You can place anything in the Heldenplatz, I mean and it will take on a political connotation because of the context.
Dialogue: 0,0:05:59.23,0:06:03.96,Default,,0000,0000,0000,,At the beginning, I tested a work which used the sound of a viola.
Dialogue: 0,0:06:04.74,0:06:07.85,Default,,0000,0000,0000,,And another work where I actually used my voice.
Dialogue: 0,0:06:19.24,0:06:20.17,Default,,0000,0000,0000,,Singing has always been
Dialogue: 0,0:06:20.17,0:06:23.82,Default,,0000,0000,0000,,part of my life, singing with my sisters.
Dialogue: 0,0:06:23.82,0:06:25.50,Default,,0000,0000,0000,,Then I was in a band for a little while.
Dialogue: 0,0:06:27.24,0:06:29.16,Default,,0000,0000,0000,,Then I became aware of what happens when you
Dialogue: 0,0:06:29.16,0:06:31.86,Default,,0000,0000,0000,,project your voice into a room \Nand how it can define space.
Dialogue: 0,0:06:40.71,0:06:42.96,Default,,0000,0000,0000,,I think it's clear that I don't have a trained voice.
Dialogue: 0,0:06:43.86,0:06:47.40,Default,,0000,0000,0000,,I'm singing in a way that you \Nmight sing if you were on your own.
Dialogue: 0,0:06:48.85,0:06:51.60,Default,,0000,0000,0000,,The songs I've sung in the supermarket \NI originally
Dialogue: 0,0:06:51.60,0:06:56.04,Default,,0000,0000,0000,,performed live where I sang over \Nthe PA system at hourly intervals.
Dialogue: 0,0:06:58.03,0:07:02.34,Default,,0000,0000,0000,,It has quite a disarming effect because you feel \Nlike you're listening to something quite private.
Dialogue: 0,0:07:03.06,0:07:07.68,Default,,0000,0000,0000,,I'm trying to create this sense of \Nsolitude in this very public place.
Dialogue: 0,0:07:11.10,0:07:13.74,Default,,0000,0000,0000,,I thought of songs as found objects.
Dialogue: 0,0:07:13.74,0:07:18.84,Default,,0000,0000,0000,,Singing them unaccompanied and \Nthen placing them in a particular
Dialogue: 0,0:07:18.84,0:07:22.38,Default,,0000,0000,0000,,context could make you see the place in a new way,
Dialogue: 0,0:07:22.38,0:07:24.42,Default,,0000,0000,0000,,or the words might take on a new meaning.
Dialogue: 0,0:07:32.45,0:07:36.24,Default,,0000,0000,0000,,The song “Lowlands,” which was \Nthis old 16th century Scottish
Dialogue: 0,0:07:36.24,0:07:40.98,Default,,0000,0000,0000,,ballad about a sailor who comes back to \Nsay a final farewell to his loved one,
Dialogue: 0,0:07:43.38,0:07:49.08,Default,,0000,0000,0000,,it's a very sad lament, but the context \Nprevents you from really being moved.
Dialogue: 0,0:07:52.90,0:07:57.64,Default,,0000,0000,0000,,Recording for my voice, or battling with \Nthe sounds of the trains and the traffic,
Dialogue: 0,0:07:57.96,0:08:02.40,Default,,0000,0000,0000,,you're all of a sudden aware \Nof where you are because the
Dialogue: 0,0:08:02.40,0:08:05.40,Default,,0000,0000,0000,,ambient sound is really loud and hostile.
Dialogue: 0,0:08:22.92,0:08:25.44,Default,,0000,0000,0000,,When I was really young, I was more interested in
Dialogue: 0,0:08:25.44,0:08:29.40,Default,,0000,0000,0000,,the historical part of the museum \Nrather than the painting galleries
Dialogue: 0,0:08:29.40,0:08:30.78,Default,,0000,0000,0000,,because I found that really boring.
Dialogue: 0,0:08:53.64,0:08:58.32,Default,,0000,0000,0000,,“War Damaged Musical Instruments” is a work that \Nhas been going for a few years now.
Dialogue: 0,0:09:00.54,0:09:03.61,Default,,0000,0000,0000,,I've been recording these musical \Ninstruments that have been damaged in war.
Dialogue: 0,0:09:04.37,0:09:06.84,Default,,0000,0000,0000,,The first ones I came across \Nwere the ones here in Berlin.
Dialogue: 0,0:09:07.50,0:09:10.74,Default,,0000,0000,0000,,That led me to different musical \Ninstrument museums here in Germany.
Dialogue: 0,0:09:51.37,0:09:54.66,Default,,0000,0000,0000,,It was clear to see that these instruments \Ncould never play music anymore.
Dialogue: 0,0:09:55.26,0:09:58.98,Default,,0000,0000,0000,,They were so badly damaged. But \Nthey still could produce sound.
Dialogue: 0,0:10:00.36,0:10:06.78,Default,,0000,0000,0000,,Sometimes it would be a very fragile, delicate \Nsound, and it was really more about the breath.
Dialogue: 0,0:10:11.64,0:10:15.72,Default,,0000,0000,0000,,I became interested in breath \Nbeing a metaphor for life.
Dialogue: 0,0:10:30.24,0:10:35.88,Default,,0000,0000,0000,,Each of the speakers plays a tone from the \N“Taps” and represents a different instrument.
Dialogue: 0,0:10:37.44,0:10:40.02,Default,,0000,0000,0000,,Originally it was used on the battlefield.
Dialogue: 0,0:10:40.02,0:10:44.88,Default,,0000,0000,0000,,It was one of the signals that \Nmeant it was safe to come back.
Dialogue: 0,0:10:46.13,0:10:51.24,Default,,0000,0000,0000,,It makes you wonder who was the last person \Nto have played it and what happened to them.
Dialogue: 0,0:11:18.90,0:11:24.96,Default,,0000,0000,0000,,As a student I wanted to make political art with a \Ncapital P, but I was never happy with the results.
Dialogue: 0,0:11:26.64,0:11:30.66,Default,,0000,0000,0000,,Those political themes come through \Nthe work in a more subtle way.
Dialogue: 0,0:11:32.10,0:11:36.06,Default,,0000,0000,0000,,In Vienna, the work that was the \Nmost successful was the sound of
Dialogue: 0,0:11:36.06,0:11:39.06,Default,,0000,0000,0000,,me rubbing the rim of four crystal wine glasses.
Dialogue: 0,0:11:40.02,0:11:43.14,Default,,0000,0000,0000,,It does have this kind of feeling of a voice.
Dialogue: 0,0:11:45.12,0:11:50.28,Default,,0000,0000,0000,,I wanted to give voice to those forgotten \Nvoices who were persecuted during the Holocaust.
Dialogue: 0,0:11:53.70,0:11:59.10,Default,,0000,0000,0000,,By defining the space with sound, you draw \Nattention to and remind people what happened here.
Dialogue: 0,0:12:09.84,0:12:16.08,Default,,0000,0000,0000,,Sound can really act as a trigger for memory, then \Ncan bring you back to a particular place and time.
Dialogue: 0,0:12:18.36,0:12:22.08,Default,,0000,0000,0000,,I wanted to bring those voices \Nfrom the past into the present.