Darby Jones: and other stories

Unrestricted To happen upon the Conductor’s performance is to encounter a dance of the truly possessed. His job is to bodily interpret a score through a performance. This performance frantically and by all means is conduit for the composer to reach the orchestra; it is a performance that precedes a performance and inspires a manifestation of the music. Like a father or professor the conductor represents a skilled and senior entity whose purpose it to transmit. How does this transmission manifest itself into reality when the Conductor is representation or the cinematic? Does the contrived work with the real (or more specifically, the audience), to create, as Eisenstein or Barthes may put it, a “third meaning”? The cyclical influence of one onto the other creates a complex third space where possibility lays. This hope in complexity is available because as Barthes puts it, “it is a signifier without signified.”