‘Death and the Maiden’ 2nd mentoring
Date and Time: Nov. 8th 2018 (Thurs) 16:00 ~ 18:00
Place: TAS cafe in Daehangno street
Mentor: Composer Chan-Hong Min
‘Death and the Maiden’ by the writer Yoo-Jung Kim and the composer Ha-Nim Kang can be inferred on the title of the musical that it was about Schubert. The composer Chan-Hong Min by ‘Ppalle; the washing’ has participated in this work as a mentor. Min reputed the 1st revised scenario that it was entirely well-arranged, and found its own subject. He said that Franz got out of his nerd personality, Therese also was able to get out of her typical noble and pure personality as well. It was overall well improved with reflecting a man with syphilis as an extreme passion which leads artistically on the present version compared to the old version that it was just drawn as a passive character.
Min said it was well organized, however, he hoped that the work would have somewhat more expected factors of Schubert on the scenario. On the last scene, a man of phantom asks a music at the desire of Beethoven, Franz couldn’t finish it. And he composed a last music for Therese. Min said the music in front reminded him of ‘Unfinished Symphony’, and asked if there was any special music for the post period. Writer Kim said that she opened more than 1,200 musics of Schubert for choosing any music could be, and she is considering of ‘Fantasy for your hand’ by a drama ‘Secret Love Affair’. Min didn’t know that music, and gave an opinion to use a part of serenade of the famous ‘Schwanengesang’ among the musics of Schubert. Also he suggested her to put in Schubert’s ‘Prince of Darkness.’ That music could be matched with the scene of phantom’s appear or the scene of Franz psychologically exhausted.
Some advices about situations and setup of relationship continued. Min said that he could understand the emotions of Franz toward Therese, however the feeling of Therese was not certain. Now Min got confused whether they fell in love each other, or just a manager with a star who got talented. Min asked to check the last scene of 2nd phase again that it might show Therese looked violent when Franz suddenly proposed her. Because Franz got syphilis, he might be looked impure even if he did not do anything specific action.
There were many suggestions about music unlike any other mentoring process. Opening music is very important, so the no. 2 ‘Last Music’ matches rather than bright no. 1 ‘Remember the Syubeltiade’ for showing uncertain and urgent feeling and color on the entire work. Music no. 3 was composed only for the instrumental music for now, so he suggested a huge one including instrumental music. Min said that it would be better to make the prior scene with music, to put the instrumental music in between, then the song comes out for effective scene, so that there would be a big sized music inside as much as dealing with the story of Schubert. The music no. 4 ‘Letter’ has a style for Therese to send to her mother, so it would be better not to make as letter type but as monologue. His opinion was that the scene would be much standing out with monologue because this was only one scene with letter to mother.
Music no. 6 ‘Impulse, Guilty’ is a song by Franz who stole Beethoven’s fountain pen. And the music no. 12 ‘Headache’ is a song to blame Franz by his guilty with its phantom about stealing the pen. Min said the two musics are strongly related each other so that he hoped that those would be connected as music as well. The role of music is important because the tension toward Franz’ phantom or the road to death should have enough tensions with music. Min asked staffs’ opinions whether the meaning of the first lyrics of actor on the music ‘Headache’, ‘someone ran away’ might be much accurate if it’s changed into ‘someone stole it.’ Because Min said that the audiences might not be able to understand the process of meaning easily which the inspiration ran away for stealing the pen.