(Pour lire cette page en Français, cliquez ici. This page updated 17 July 2017)
Inspired by Marcel Ayme’s Les Sabines (1943) by Di Sherlock, The Ubiquitous Woman, an opera for three singers, two instruments and treated sound, takes a satirical look at the rating-obsessed, serial swiping world of dating tech from the female perspective.
Every year apps, platforms, and gadgets become more deeply entangled in our relationships. As the options for finding love and lust proliferate, mature women behave like adolescent girls, younger women feel the pressure. So what happened to ‘girl power’? Has it, after all, become a function of the time honoured oversexed male model?
We present a modern Cautionary Tale which ‘offers’ three different solutions:
Natalie, able to clone herself at will, opts for security – a temporary clone allows her to indulge while keeping home life safe – when she’s done she reincorporates. No commitment, no risk.
Rogue Clone Tara commits to old-style passion, but with Jasper, Tinder playboy and Conceptual Artist, she nosedives into codependence and misery.
Pandora – a younger Clone – opts for control. Multiple clones are avatars, the thrill an addictive VR high – one step away from the Westworld–like technology in development right now.
Fast, furious and funny, the piece asks what we (women) really want and as the separation of sex and love becomes more and more the norm, if that’s even possible.
Writer-director Di Sherlock and composer Martin Ward worked with designer Andie Scott to produce a sample section for presentation on 10 November 2016 to sponsors, promoters and other interested parties. To watch the video and see photos, click here.
You can also read about the progress of The Ubiquitous Woman in a series of updates under the News menu tab.
If you would like to get involved with The Ubiquitous Woman, either as a sponsor or with a different kind of support, please get in touch with us at newnotesandnoises [at] gmail [dot] com.