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Judaica: An Embodied Laboratory for Song-Action

Judaica：歌曲动作的具体实验室

基本信息

批准号：
AH/N006879/1
负责人：
Ben Spatz
金额：
$ 23.34万
依托单位：
University of Huddersfield
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2016
资助国家：
英国
起止时间：
2016 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FN006879%2F1
关键词：
Judaica Embodied Laboratory Song Action

项目摘要

Since the 1970s, scholars in a variety of fields - including anthropology, sociology, cultural studies, philosophy, and most recently cognitive studies - have argued for the centrality of embodiment and embodied practice in the production of knowledge. Drawing on feminist and sociological critiques of the disembodied status of 'objective' research, many scholars have called for new approaches that trouble or overturn the assumed hierarchy of theory over practice. Theorists of theatre, dance and performance have made important contributions to these discussions by showing how performative forms such as songs and dances can 'function as vital acts of transfer, transmitting social knowledge' (Taylor 2003: 2-3), while scholars in cultural and religious studies have similarly analyzed martial arts, yoga, and other practices of physical culture as modes of 'embodied knowledge' (Farrer and Whalen-Bridge 2011). This project takes the concept of embodied knowledge a step further by proposing that embodied practice in a focused laboratory setting can be a site of knowledge production as well as transmission, leading to substantial research outcomes in the form of new technique.The project will use the sociology of scientific knowledge, and specifically the subfield of laboratory studies, to revitalize the twentieth-century concept of the 'theatre laboratory', leading to the development of a robust methodology for embodied research. A key criterion for defining and assessing such research is the precise specification of the area of embodied technique to be investigated. In this case, the core object of research is the technique of 'song-action', an embodied approach to song that includes dynamic psychophysical action and interaction as well as vocal musicality. In today's world of ubiquitous sound recording, we are used to thinking of songs as audio tracks subject to infinite duplication. The previous technological era understood songs as written scores. This project returns to a more primary understanding of songs as cultivated organic resources within the bodies of individuals and groups. It defines 'song-action' as the dynamic intersection of a particular type of song - in this case, the Jewish piyutim and nigunim - with psychophysical action in the sense developed by twentieth-century pioneers of acting Konstantin Stanislavski and Jerzy Grotowski.The core of the project is six months of full-time embodied research involving three skilled practitioners in a studio laboratory. The practitioners will have advanced competency in the technique of song (natural and extended voice and musicality) and action (movement, physical culture, psychophysical scores) and will work together to systematically chart and explore the practical possibilities for psychophysical action defined by the vocal structures of the selected songs. As embodied technique, singing is much more than just rhythm, melody, and lyrics, even if these are its essential foundation. Individual songs, especially when learned through oral tradition or audio recordings, also define structures of breath, vocal resonance qualities (timbre or color), and many other subtle aspects of the embodied voice that are not well captured by western musical notation. The core phase of embodied research will be supported by dramaturgical and musicological research and the PI will maintain and expand relationships with mentors working in Jewish studies and music.The laboratory practice will model best practices of documentation and transparency as they pertain to embodied laboratory research. Its results will be shared through live research presentations in the United Kingdom, United States, and Poland; a concluding interdisciplinary symposium; a collection of raw documentation files; and a series of print and digital multimedia publications that explore the concrete findings and epistemological implications of this new approach.

自20世纪70年代以来，各个领域的学者——包括人类学、社会学、文化研究、哲学，以及最近的认知研究——都在争论体现和体现实践在知识生产中的中心地位。利用女权主义和社会学对“客观”研究的无实体状态的批评，许多学者呼吁采用新的方法来麻烦或推翻假设的理论高于实践的等级制度。戏剧、舞蹈和表演的理论家为这些讨论做出了重要贡献，他们展示了歌曲和舞蹈等表演形式如何“作为转移和传递社会知识的重要行为”（Taylor 2003: 2-3），而文化和宗教研究的学者也同样将武术、瑜伽和其他体育文化实践作为“具体化知识”的模式进行了分析（Farrer和Whalen-Bridge 2011）。该项目将具身知识的概念推进了一步，提出在重点实验室环境中的具身实践可以成为知识生产和传播的场所，从而以新技术的形式产生实质性的研究成果。该项目将利用科学知识的社会学，特别是实验室研究的子领域，重振20世纪“戏剧实验室”的概念，从而发展出一种强有力的具体研究方法。定义和评估此类研究的一个关键标准是要研究的具体技术领域的精确规范。在这种情况下，研究的核心对象是“song-action”技术，这是一种体现歌曲的方法，包括动态的心理物理动作和互动以及声乐的音乐性。在当今无处不在的录音世界中，我们习惯于将歌曲视为可以无限复制的音轨。在之前的科技时代，人们把歌曲理解为写好的乐谱。这个项目回归到对歌曲作为个人和群体体内培养的有机资源的更初级的理解。它将“歌曲-动作”定义为一种特定类型的歌曲——在这种情况下，是犹太人的piyutim和nigunim——与20世纪表演先驱康斯坦丁·斯坦尼斯拉夫斯基和耶日·格罗托夫斯基所发展的心理物理动作的动态交集。该项目的核心是由三名熟练的实践者在工作室实验室进行为期六个月的全职具体化研究。从业者将在歌曲技术（自然和扩展的声音和音乐性）和动作（运动，体育文化，心理物理分数）方面具有先进的能力，并将共同努力，系统地绘制和探索由所选歌曲的声乐结构定义的心理物理动作的实际可能性。作为一种具体的技巧，唱歌不仅仅是节奏、旋律和歌词，即使这些是它的基本基础。个别歌曲，特别是通过口述传统或录音学习的歌曲，也定义了呼吸的结构，声乐共鸣的品质（音色或颜色），以及西方音乐记谱法无法很好地捕捉到的声音的许多其他微妙方面。具体研究的核心阶段将得到戏剧和音乐学研究的支持，PI将与从事犹太研究和音乐工作的导师保持和扩大关系。实验室实践将模拟文档和透明度的最佳实践，因为它们与具体的实验室研究有关。其结果将通过在英国、美国和波兰的现场研究报告进行分享；结论性跨学科讨论会；原始文档文件的集合；以及一系列探讨这种新方法的具体发现和认识论含义的印刷和数字多媒体出版物。