Tongue and Cheek Episode 1 (Phatics) Tongue and Cheek Episode 2: Breath and Incidental Vocalizations—with Jonathan Gordon— (Vocalise: Producing) Tongue and Cheek Episode 3: Articulating, Containing, Hesitating—with Morgan Garrett— (Vocalise: Shaping) Tongue and Cheek Episode 11: Offsite (Vocalise) Tongue and Cheek Episode 13: Cordially (Socialise) Tongue and Cheek Episode 14: Valve Lash (Vocalise) Tongue and Cheek Episode 16: Waist Voice—with David Dixon— (Vocalise) Tongue and Cheek Episode 18: Borrowing Tellings—with Dan J. Ruppel (Ventriloquize) Tongue and Cheek Episode 19: Resonators—with Zack Winokur (Vocalise) Tongue and Cheek Episode 20: Windows Mirrors Floors (Vocalise) Tongue and Cheek Episode 21: Crowds Tongue and Cheek Episode 22: Liquid Breath (Vocalise) Tongue and Cheek Episode 23: Mimicry of (Socialise)
Tongue and Cheek Episode 19

Resonators—with Zack Winokur, Broadcast on WGXC, Tuesday, March 3rd, 2020, 2PM–3PM, Broadcast on Montez Press Radio, Saturday, July 25th, 2020, 11AM–12PM

Resonators—with Zack Winokur—Releasing tension—breathing into your hands, visceral sphere, floating (in your breath and liquid-air around you), pulling a string of “tzss” out from your mouth, hanging from the ceiling like a puppet, mouth at the back of your head. Rooting (pushing down into the ground) and uprooting (pushing up against your own body) “see out of you back eyes…this is you back nose, smell out of your back nose…this is your back mouth. I want you to first taste out of back tongue” vocalizing out of your back mouth. Pushing on your fingers with your eyes. Finding the heaviness of limbs. Rudder. Elbow as the pelvis. Standing close to an opera singer. An opera singer’s bodily control (finding space) and inability to control. Singing with and without a pelvis. Singing through a straw.

Joined by Zack Winokur

Zack Winokur is a stage director, choreographer, and dancer. In 2017 Winokur, founded AMOC (American Modern Opera Company), which Winokur co-directs with composer Matthew Aucoin. AMOC is an ensemble of singers, musicians, and dancers committed to creating a body of new, discipline-colliding music-theater works that range from operatic stage work to creatively curated chamber events. Future highlights include directing Sondheim’s Sunday in the Park with George with the Los Angeles Philharmonic conducted by Gustavo Dudamel, Wagner’s Tristan und Isolde at the Santa Fe Opera, and a newly devised piece in collaboration with AMOC and the Philharmonia Baroque Orchestra, which tours the Bay Area, the Krannert Center, and comes to the Met Museum next fall. Highlights from last season include The Black Clown, an adaptation of the Langston Hughes poem starring Davóne Tines with music by Michael Schachter, at the Mostly Mozart Festival at Lincoln Center and the American Repertory Theater; Perle Noire: Meditations for Joséphine, with music by Tyshawn Sorey, text by Claudia Rankine, and starring Julia Bullock at the Metropolitan Museum of Art; a new production of Hans Werner Henze’s El Cimarrón starring Davóne Tines, also at the Met Museum; and a new piece for the Los Angeles Dance Project at the Luma Foundation in Arles, France.