On Monday evening, a handful of audience members braved the icy gusts of wind and mountains of snow to make themselves comfortable on the beanbags of the Satosphère, in the heart of the Société des Arts Technologiques (SAT). All the way from Malta, composer Ruben Zahra and pianist Tricia Dawn Williams swapped the mild Mediterranean climate for the cold of Montreal to present Kafka’s Insect as part of the Festival International Montréal/Nouvelles Musiques (M/NM).
An immersive audiovisual performance, Kafka’s Insect is a retelling of Franz Kafka’s famous novel La métamorphose (1915). Spanning some 40 minutes, the visual narrative features characters from the Austro-Hungarian author’s story, as well as a real insect filmed from various angles and in motion. The narrative is built up in fragments and is supported by sound events taken directly from Kafka’s text: the pounding of rain against windows, the crash of a laboratory flask crashing to the floor, or the clash of apples thrown against a wall. These diegetic sounds blend with the soundtrack that is played live by piano and synthesizers. Towards the end of the piece, a dialogue is established between a violin recorded in the film and the piano played on stage. These interactions reinforce the cohesion between the sound and visual worlds, making the experience all the more immersive.
In addition, these looped elements encourage us to interpret the sound and visual scenes from different perspectives. This process amplifies the strangeness of the work, paying homage to the absurdity that permeates Kafka’s text.
The video projections – usually broadcast on a two-meter-diameter inflatable sphere placed at the center of the stage – have been specially adapted for this event, exploiting a large part of the surface of the SAT’s immersive dome. The film, shot for the most part with a vintage Daguerreotype Achromat lens from 1838, featured a singular aesthetic: soft light, with a blur evoking a flourishing imagination, just like Kafka’s protagonist. The circular image was projected onto the dome. Projections of the protagonist, depicted as a giant insect, were thus projected onto an imposing screen, creating a captivating atmosphere.
The integration of projected texts, while making the story easier to understand, sometimes broke the immersion. On the other hand, the moments when synthesizers were added to the piano created a particularly enveloping atmosphere. Finally, the impeccable synchronization between live music and video, facilitated by a click in the performers’ headphones, was an appreciable element that enhanced the fluidity of the performance.
This show marked the final M/NM event presented at the SAT, but the 12th edition of the festival continues with several more concerts to be discovered in the coming days. Focusing this year on the dialogue between music and images, M/NM offers no fewer than 18 concerts over 16 days.
photo: Emma Tranter
