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Manos Tsangaris
External link: www.tsangaris.de
Manos Tsangaris
Composer, artist, writer (DE), 1956
Manos Tsangaris was born in Duesseldorf (Germany) and studied composition and New Music Theater with Mauricio Kagel and percussion with Christoph Caskel at the Cologne Academy of Music. His compositions are internationally acclaimed and performed at several renowned festivals such as the Wittener Tage für neue Kammermusik, the international theatre festival of Belgrade, the Musik-Biennale Berlin, the Biennale Venezia and the Donaueschinger Musiktage. Furthermore, theatres and opera houses in Cologne, New York, Mannheim, Dresden and Bielefeld have produced his works.  

In 1991, Manos Tsangaris lectured at the summer academy Civitella d’Agliano (Italy), in 2002, he taught transdisciplinary composition at Ny Musikk in Oslo and Stavanger (Nor) and in 2003 at the KlangKunstBühne of the Berlin University of the Arts. He has been the advisor of the artistic director of the Cologne Theatre from 2002 to 2007 as well as a lecturer at the Darmstadt International Summer Courses for Contemporary Music in 2004-10.

In May 2009, the first part of his new "Stationentheater" Batsheba, Eat the History! for actors, singers and ensemble was premiered at the State Opera House Unter den Linden in Berlin. For the full cyclus, Tsangaris was awarded the composition prize of the SWR Sinfonieorchester Baden-Baden und Freiburg during the Donaueschinger Musiktage 2009.
In October 2009, he was appointed professor at the Academy of Music Dresden and was appointed full member of the Academy of the Arts, Berlin.

In 2010, Manos Tsangaris was appointed full member of the Saxon Academy of the Arts.

“The question how different medial human modes of perception can be connected in a sensible and pregnant way in a work of art is central for the compositional work of Manos Tsangaris. Therefore, the act of composing is not only related to the effort of putting things together (com-posing), but at the same time is related to the preceding experimental exploration of the interface at which medial connections are possible in the first place. The expansion of the traditional definition of what "composition" means leads to a multiplicity of results. Besides musical compositions, Tsangaris has in the past 25 years also created poems, prose, installations and visual works. Although his literal and visual works claim autonomy, their coming together and synthesis in a universally understood music theatre is the central moment of his artistic work.“ 
- Raoul Moerchen

3 questions for Tsangaris
What opportunities, qualities or restrictions do you think sound has as an artistic material?
"For me it is a very interesting question, what MATERIAL in general can mean to a composer. Is it something like e.g. a marble stone or a piece of wood for a sculpture? I have the impression that sound does not behave like this at all.
This is why I am happy with this year’s topic of the SPOR festival. Silence is the moment and state when something noisy has stopped. SHUT UP! SSH!
The only material I could think of is the way we are asking for the circumstances, conditions and criteria of compositional thinking and composed situations, whether they are defined acoustically, visually, theatrically or just a combination of all of this (like ”real life”).
I am not interested in the idea of real life as an artwork or of artwork as real life. But I am very fond of observing this relationship, the nexus of languages (media), me, us, in the middle of the universe, trying to sort out what might be happening at all."
What does silence represent to you – in general and in regards to your artistic practice?
"Pure Presence or Absence.
Both do probably not exist.
So silence always is relative (SSH!) and a compromise (SHUT UP!)
Do I think writing musical theatre is a pure profession?
It is consisting of so many compromises that after all I think it will lead to purity.
In the artistic practice it is always good to have the “right amount” of pauses & each in a “perfect length” (duration!) inside the pieces!!!
The sound of pauses always varies!"
How do you work with the relation between sound and context in your artistic practice?

"From the beginning in the 1970s for me it was a revolution to contextualize sound in concrete composed situations, get rid of absolute music as a fetish and revolutionize the recipients’ perspectives. (I never wrote any concert music.)
The place/location of the composition is exactly in the middle of the listener’s/watcher’s perception. All categories have to be organized in this direction to become coherent for a performance. So it became “musical theatre” by itself.
Nowadays I am sometimes also interested in the more formalized ideas of opera etc. But this is another step."

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