These elements include both voice - not only a carrier of speech but also an emotional, pulsional, gestural expression in excess of it - and sound in general - not only supporting music or incidental noise but also an autonomous stage building material. Its focus is primarily on a specific dramaturgy of sound that, rather than helping to reveal the plot of a literary text, reads/writes another type of text by the temporal and spatial disposition of oral acts and aural objects as elements of performance. Making the case that the historical avant-garde initiated a new, hybridized concept of the arts that has become a hallmark of the dramaturgy and performance style of postdramatic theatre, it discusses contemporary theatricality in light of the principles and methods of sound poetry, painting, and music. This book explores the orality/aurality of theatre performance and in accord with its subject - theatrical sound as an intermedial, fluid, and multi-faceted phenomenon - necessarily adopts a multidisciplinary approach.
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