Jesse Peter Ash

PHOSPHOS

Collectif CHA

Created by Paul Chambers
Composition by Jesse Ash

Presented at Festival TransAmériques (Montreal QC) 2020, Buddies in Bad Times (Toronto ON) as part of Rhubarb Festival 2021, Montreal Arts Interculturelles (Montreal QC) and Furies Festival (Marsoui QC) in 2023.

PHOSPHOS is a study in perception and time; a curated environment that intends to change our relationship with psychological time during the duration of immersion. Through the use of a slowly decaying, glowing floor playing against our visual perception in low light, and slowly modulating, interacting piano loops creating an evolving soundscape with no beginning or end we are removed from our signposts of the passage of time.

PHOSPHOS invites performing artists as well as the public to leave time behind and interact with it, and one another in the present.

La lumière, traitée comme un enjeu dramatique, joue ici un rôle de premier plan ; l’environnement subit des transformations par une manipulation subtile et sensible. Tel un spectre, un danseur s’abreuve parfois à cette source lumineuse. Au cours de cette envoûtante cérémonie, le public est invité à se fondre dans la phosphorescence de la matière, à aiguiser son regard. En recueillement ou bien en mouvement, il traverse l’espace ou observe, il choisit de sortir et de revenir à sa guise. Un étrange glissement s’opère, le territoire jusqu’alors inconnu se laisse apprivoiser. Méditatif et hypnotisant.

ANTIOCH

Talisman Theatre

Written by Sarah Berthiaume
Translation by Iris Cronin
Directed by Sophie El Assaad
Choreography by Hoor Malas

With Cara Rebecca, Nora Guerch, Mona Maarabani, Ismail Zourhlal

Sound Design and Composition : Jesse Ash
Visual Direction and Editing : potatoCakes_digital
Visual and Cultural Consultant : Nadine Jaafar
Costume design : Sophie El Assaad
Costume Technician and Head of Wardrobe: Sandrina Sparagna
Music Consultant : Skander Cherif

An enhanced digital reading of Sarah Berthiaume’s adaptation of Antigone envisioned as both an alternative to in-person live theatre and an opportunity to experiment with form and process integrating Binaural Audio and XR environments.

Combining nostalgic and contemporary sounds and integrating reconstructions of ancient greek music, covers of Lana Del Rey’s Born To Die, and Sufi Circle Rhythms to create a dreamy soundscape of two worlds.

LIENS/TIES

Intergenerational Conversations

Created by Arianna Bardesono and Rose Plotek in collaboration with Grandparents and Grandchildren from the community

Sound Design by Jesse Ash

Visuals by potatoCakes_digital

Liens/Ties sheds a light on the often-unexamined relationship and the unconditional love between grandparents and grandchildren. This integral and deep generational bond is so rarely explored and is so vital to our society’s well being. Liens/Ties offers a space beyond the constraints of time and modern life where these two generations can share and connect.

MOB

The Centaur Theatre Company (English-Language Premiere)

Written by Catherine-Anne Toupin
Translation by Chris Campbell
Directed by Andrew Shaver
With Susan Bain, Matthew Kabwe and Adrianne Richards

Set and Costume Designer: James Lavoie
Lighting Designer: Martin Sirois
Sound Designer: Jesse Ash
Fight Director: Robert Montcalm
Stage Manager: Merissa Tordjman
Apprentice Stage Manager: Trevor Barrette

The Centaur Theatre production of MOB was nominated for 8 META awards.

Often the Process of creating a Sound Design begins with the composition of a few pieces that speak to the themes, moods and atmospheres of the overall piece. These can then be broken down into their constituent parts and transitions, underscore, and framing can be constructed from them. For MOB I was inspired by the work of Susumo Yokota for its dreamy quality and early Aphex Twin for its atmosphere and frenetic, dark energy. The Soundscape for Mob was creating with this work in mind.

en attendant godot

Théâtre du Nouveau Monde

Written by Samuel Beckett
Mise en Scène de Francois Girard
With Benoit Brière, Alexis Martin, Pierre Lebeau, Emmanuel Schwartz and Mounia Zahzam

Assistance à la mise en scène et régie:
ELAINE NORMANDEAU
Décor: FRANÇOIS SÉGUIN
Costumes: RENÉE APRIL
Éclairages: DAVID FINN
Conception sonore: JESSE PETER ASH
Accessoires: CÉDRIC LORD
Conseiller en mouvement et techniques de combat:
JEAN-FRANÇOIS GAGNON

Time and the dichotomy of night and day are central to the framing of this classic existential examination and were literally given centre stage in this production. With a thin stream of sand dropping from the ceiling, evoking the dead playing space as an hourglass and a massive celestial deus ex machina sun and moon as backdrop; particular attention was given to not only the transition between night and day, but what might transpire at night. What happens when the lights are out and the characters sleep, resetting for yet another day? This imagined night was meant to greet the audience in every moment between the the action. A rich soundscape of strange nocturnal activity greeted the audience not only before the show in the theatre itself, but outside in the street, in the café and bar before and after, even on the phone while on hold with the box office; complete immersion in a strangely twisted and wild nightlife.

MIND GAP

Norsk Teknisk Museum, Oslo

Designed by Robert Wilson in collaboration with Serge von Arx.

Sound Design by Jesse Ash

Includes Text by Christopher Knowles

Mind gap is a comprehensive expression enveloping both art and science alike. It represents a new way of communicating science. The public response in terms of visitors and media coverage has been even more extraordinary (sic).

The exhibition was nominated for the International Design and Communication Award (IDCA), 2012.