For six voices, one microphone and one loudspeaker

A carefully scored real time acousmatic radio performance with no editing, no sound effects and no theme, “Maxigolf” stages a radical and provocative dispositive. The audience looks and listens to a tiny luminous dot on a black curtain. The monophonic sound of a vocal ensemble comes out from a single loudspeaker as if it were emanating from a single and non-dimensional point. The performers are somewhere near, in the same building although invisible to the audience, in a separate space.
 
“Maxigolf”  enacts an acoustic camera obscura or acoustic pinhole camera where a complex sound landscape of voices is pushed through a tiny hole and re-projected on the other side. It is inspired by the technique and aesthetic of the early radio plays where all effects and spatial information were created by positioning actors, singers and fooley artists around a single monophonic microphone.
 
The tiny dot of “Maxigolf” is at the same time a mouth, an orifice, a collapsed supernova and a hole where the golf ball could disappear forever.
At the same time it is an eye that observes the audience and watches over it. While spectators think to be completely separated from the ensemble they soon realize that they are being watched in real-time and that the piece itself is enacting a form of performative surveillance over them.